Steven Page begins new chapter with 'page one'

When Steven Page left Barenaked Ladies (BNL) in 2009, the public hatched numerous theories as to what could’ve led to such an unforeseen decision.  Whether it was a burgeoning rift with bandmates or simply the product of his 2008 drug arrest, critics appeared to speculate on everything other than the possibility that he might just be traveling in a different musical direction. 

"Frankly, the band itself was a five-way democracy and one of the great things about it is that it's been about the five-way collaboration, but it's also one of the things that's made me decide to be a solo artist,” says Page when discussing his exodus.  “As soon as I’d left BNL, I told my agent to put me on as many folk festivals as possible, so no one could assume I’d slip into the clichéd role of the eccentric hermit.  I’m much more the eccentric extrovert!”

His latest solo effort “Page One” is due out on Oct. 19 and proves to be a majestically composed trove of songs that rank among his best yet.  The album explores themes of “love, loss and new beginnings” while Page exudes an aura of distilled optimism that fans might not be expecting right out of the gate. 

“I’d like to think I’m still delivering that thing that has connected with audiences for so long.  Some listeners might have expected a brooding, woe-is-me album from me but, while there is some reflection, this is not a collection of diary entries,” he adds.  “I’m excited by the album and to be performing it live as well.” 

In anticipation of his upcoming show at The Riviera Theatre on Nov. 6, I spoke in-depth with Page about the new record as well as how his life has changed since leaving the band he spent more than 20 years being a part of.  I found his down-to-earth levity to be a refreshing alternative to the often guarded nature of celebrity and immediately bought into the enthusiasm with which he approached his newfound solo endeavor.

Question:  You’ve been out of BNL for a while now.  How have you grown as an artist since your departure?

Steven Page:  I still have immense respect for those guys.  They’re a great band and I wish them the best.  For me, the best parts have been not having to rely on others and being able to make the big decisions myself.  I have more confidence in my abilities as an artist and have played a lot of live shows to establish my comfort zone.

Question:  How did your split from the band influence your approach to the new album?

SP:  Well, I didn’t have to listen to others as much or follow anyone else’s lead.  I’ve never been one to say ‘Play this’ and expect people to comply, so I essentially had the freedom to do whatever I wanted.  I’m still working and collaborating with others, which is great.  Although I’ve performed outside of BNL in several guises, with this it has a different kind of resonance, because previously I might have been playing a part in someone else’s project.  This time, I’m in charge. 

Question:  The song “A New Shore” has an uplifting tone to it.  Do you view it as an announcement of your solo career?

SP:  I think so.  It’s about me moving on and landing in a place that I feel good about.  Someone told me the other day that the song is my

‘Solsbury Hill’ and, after listening to Peter Gabriel again, I’d say that’s a great comparison.  It’s triumphant and hopeful.

Question:  “Entourage” presents a sound unlike much of what you’ve done in the past.  What was your inspiration for that?

SP:  I thought that because I could do anything I wanted to, Stephen Duffy and I would create a Bossa Nova vibe reminiscent of Trevor Horn’s production work with Frankie Goes to Hollywood.  We share a lot of the same sonic influences, so it was easy putting everything together.

Question:  The track “Over Joy” begins with such a vibrant guitar sound yet deals with downbeat subject matter.  How did that juxtaposition come about?

SP:  I like combining a dark lyric with a sprightly melody, so I see it as a sequel to ‘Brian Wilson’ in that sense.  I’ve dealt with depression my whole life and it kind of comes and goes.  I don’t enjoy it, but I also don’t wallow in it either.  I’ve always loved ploppy, toe-tapping music and this song illustrates that idea perfectly.

Question:  What about the song “Queen of America?”  

SP:  I wanted to create an up-tempo Bowie song and this is how it took shape.  It’s like my gay disco tune, because I’ve always been a fan of the Pet Shop Boys and decided to write about the co-opting of gay culture by straight culture. 

Question:  Who were some of your influences throughout the writing/recording process?

SP:  I’m really into The Mountain Goats and their focus on detailed lyrics that cause you visualize the story.  I also listened to a lot of Scott Walker.

SP:  There are a lot of people I’d like to work with.  It’s difficult, because you can’t just call someone up and say ‘Hey, we should collaborate on something’ for fear that they might not think your stuff is all that great.  I would love to get the chance to work or even sing backup for Paul McCartney.

Question:  What can fans expect in terms of BNL classics in concert?

SP:  I’ll be playing a lot of the songs that I sang lead on like ‘Brian Wilson,’ ‘Jane,’ ‘The Old Apartment’ and ‘Call and Answer.’  We’ll even break out some deeper cuts that haven’t been played in a while.

Question:  Do you still enjoy playing those songs?

SP:  I do.  My band and I have rearranged a lot of them to enhance their freshness, so it’s been fun revisiting some of my earlier work. 

The Social Network

David Fincher’s “The Social Network” begins with a searing exchange in which Harvard wonder boy Mark Zuckerberg (Jesse Eisenberg) uses algorithmic methods to explain to his “girlfriend” why their relationship is no longer a viable institution.  I put “girlfriend” in quotations, because she appears to exist solely as way for Mark to gain access to a forbidden circle that he would otherwise have no chance at experiencing.  His desire for inclusion, his megalomaniacal drive to be accepted by everyone creates an intellectual island on which he’s forced to dwell and, as screenwriter Aaron Sorkin tells it, Mark wouldn’t have it any other way.  He carries around so much pretentious antagonism that any connection to another human being is negated by his notion of virtual supremacy being just a little bit cooler, thus beginning the horror story of Facebook as we know it. 

Eisenberg gives us a captivating, ice-in-the-veins take on a character who most people know as “the youngest billionaire in the world” but, if we’re to believe Sorkin, money was the furthest thing from Zuckerberg’s mind.  Sure, greed played a role, but not in the Gordon Gekko sense we’re accustomed to.  What Zuckerberg was really after was a way to circumvent the exclusion-based tradition of high society by bringing the party scene to the masses and his casual dismissal of anyone willing to help is what I found to be the most engaging dichotomy at work here.  Rather than assimilate the old-fashioned way, he decided to blow the whole thing open as a way of getting back at the clubs he once deemed important and, as a result, the so-called cyber villain of our times was born.   

Did he steal the idea from his Harvard classmates?  Did he use, chew up and spit out the only person left in the world whom he could call a friend?  Is he really as insufferable a person as the film makes him out to be? 

Perhaps, but counting on Sorkin’s script to be 100% accurate is missing the point.  He taps into the zeitgeist of Generation Y like no other American film I’ve seen this year and does so with a sparkling immediacy worthy of so much more than just Academy Award attention.  Facebook currently sits at 500 Million members and counting and the line between living and living vicariously through a computerized network becomes fuzzier with each passing second.   

Fincher’s direction and tone are sublime, Trent Reznor’s wicked musical arrangements couldn’t be better and Spider-Man-to-be Andrew Garfield gives what I think is the most painfully brilliant performance of the entire film as Mark’s one-time friend and CFO Eduardo Saverin.

The sweet irony of all this is that, despite all the money and fame, Zuckerberg ends up alienating himself from exactly the kind of social mingling he always wanted.  Instead, what we see is a man and his computer, side by side, for better or for worse until the bitter conclusion.  I almost felt sorry for him at the end but, then again, it wasn't my 34% ownership that he was accused of liquidating.

-  **** out of 4



The Black Keys are a dynamic rock duo

If someone started an endangered species list for rock bands, I’m convinced that Akron, Ohio’s own The Black Keys would find a place near the top.  I say that because, walking out of their recent set at Town Ballroom, I couldn’t help but feel as if I had just witnessed a dying breed among today’s barren musical terrain.  Here was a voraciously tight duo whose melodic flavor blended the lush vocal inflection of 70s soul with the turbulent, all-or-nothing stage presence of Nirvana to create the type of visceral garage rock many critics thought had disappeared with the onset of the new millennium. 

Vocalist/Guitarist Dan Auerbach plays a distortion-heavy brand of blues that oozes with raw sensuality and drummer Patrick Carney attacks the skins like it’s the last time he’ll ever set foot on the stage, so they’ve taken a minimalist formula and fashioned it into something the mainstream finally deems worthy of praise. 

Their latest album, “Brothers,” has become a critical darling as of late and the hit single “Tighten Up” has led the once-relevant Vh1 to jump all over it like they’ve been on-board from the beginning. 

I suppose grossly overdue attention is better than none at all, but perhaps The Black Keys are better off averting the whirlwind that is commercial manipulation.  Maybe their claim to fame lies in modest concert halls where they can polish their skills, engage fans and save the music from being robbed of its authenticity by a suit who believes Justin Bieber represents the future of the industry.    

On that note, what I really wanted to do here is pay homage to past two-piece bands that have made the type of mark on the scene that The Black Keys are on their way to making.  I’ll give my list with hopes that you’ll fill in the blanks with your own favorites, so let’s see what you got. 

No genre is off limits.

Simon and Garfunkel

Steely Dan

The White Stripes

Hall and Oates

The Ting Tings

Outkast

The Righteous Brothers

Daft Punk

New Medicine living it up on Uproar Tour

New Medicine's forthcoming debut album is titled "Race You to the Bottom" but, if their presence on the 2010 Rockstar Energy Drink Uproar Festival is any indication, the Minneapolis-bred rock quartet could be headed straight to the top.  Their combination of sweeping guitar licks and emotionally disrobed songwriting evokes the breakneck oomph of early 80s punk bands and is sure to have fans at every stop banging their head to the beat.

For lead vocalist Jake Scherer, the band's message is all in its name.

"Everybody has a different medicine—whether it's coffee, drugs, alcohol or cigarettes," says Scherer. "When I was growing up, music was the only medicine I needed. If I was really bummed out about something, I'd put a record on and it'd cheer me up. Music's the ultimate healer."

I caught up with Scherer and bassist Matthew Brady prior to their show at Darien Lake on Sunday to discuss the genesis of the band and how they're enjoying their time under the Uproar spotlight.

Question: How did you guys begin playing together?

Scherer: Well, we all went to middle school together and played in different bands together. Different members, different bands, but we kind of created a hybrid of all our friends' bands. Like I said, Dan (lead guitarist) and I went to school together and have known each other forever, so we decided to start a band and everything clicked right off the bat.

Brady: Yeah, we were friends first you know and that made it a whole lot easier to get the music together. We had that chemistry and that base.

Scherer: We knew we all wanted to take over the world, so we had the same great mentality.

Question: How did growing up in Minneapolis affect your musical direction?

Brady: That's a great question. You know, Minneapolis has such a great, diverse base of music. Everything from rock to hip-hop. Alternative bands are really great. You have the history of artists like Bob Dylan, The Replacements, The Jayhawks, Hüsker Dü and Soul Asylum. All those different bands have built the city into a place that nurtures young bands. Venues to play, people to come out and see you. Everybody treats each other well you know. There's no backstabbing element. Everybody's happy for one another, so it's really cool.

Question: Who were some of your influences growing up?

Scherer: When I was 13, I started writing songs and Kurt Cobain was my favorite artist at the time. Nirvana is still one of my favorite bands to this day. I loved the way they played and the songs they wrote.

Brady: I grew up listening to punk rock bands like The Descendants, Black Flag and Propagandhi. Stylistically, that scene had a lot of influence on the way I play and the elements I bring to the band.

Question: What song on the upcoming album are you most proud of?

Brady: I think we're most proud of our new single called "Little Sister." It's a song about Jake's sister who died when she was young and it memorializes her. It kind of explores the idea that if she was here today she'd be 18 years old and how would she have impacted Jake's life. For Jake and for all of us, we're glad it turned out so well.

Question: I read that you guys had more than 100 songs prepared. How did you decide what made it onto the album?

Scherer: We just wanted to narrow it down. We wanted to have the best songs possible on it so, if someone said 'This is a good song, we would say 'Well, this is a great song,' because we wanted to make it work. I think we came up with the best 11 songs for the album.

Question: What type of guitars do you play?

Brady: I play a lefty Mexican jazz bass that covered in about 5,000 stickers, so it's hardly recognizable. It's got a lot of heart in it.

Scherer: I play a Gibson Les Paul as well as a Fender Telecaster.

Question: I know the tour has just begun, but what has been the best part of it so far?

Scherer: The catering has been pretty awesome.

Brady: Yeah, the catering has been great. It's cool having the ability to hang at the merch tent as soon as we get finished playing and sign posters for anyone who comes by. We really get an opportunity to meet everyone out here that wants to come over and say 'Hi' and we love to do that. We're sociable people, so we're having a great time.

"Race You to the Bottom" hits stores on September 28.

www.myspace.com/newmedicine

rockstaruproar.com

Public Enemy 'brings the noize' to town ballroom

"I think a lot of white bands miss the point of rock 'n' roll. But when you hear Public Enemy it suddenly comes back to life." – Mick Hucknall (1989)

On a night when The Black Eyed Peas brought their traveling pop circus to HSBC Arena, hip-hop luminaries Public Enemy (PE) took the Town Ballroom stage with a vengeance to continue the socio-musical revolution they began more than 20 years ago and, as always, it was not televised.

All the glitz, avarice and blatant misogyny that have defined the genre as of late were annihilated as Chuck D, Flavor Flav, Professor Griff and DJ Lord treated their fans to an all-out lyrical assault aimed at everything from racial separatism to Arizona Gov. Jan Brewer.

Those who missed it may wish that it had been on TV, because they would've been able to ascertain just how transcendent the art of rap music can be when firing on all cerebral cylinders.

Opening with the intoxicating flow of "Contract on the World Love Jam," PE turned up the heat with a string of classic jams including "Brothers Gonna Work it Out," "Bring the Noize," "Don't Believe the Hype" and "Welcome to the Terrordome" while fist-pumping their way into the souls of anyone willing to listen.

The finesse with which Chuck D rattles off rhyme after animated rhyme should urge aspiring rappers to cling to their day jobs, because he's constantly pushing the limits of what the human larynx is capable of.

Whether it was his eerie modulation on "Black Steel in the Hour of Chaos" or the possessed A cappella take on "By the Time I Get to Arizona," he appeared determined to make these songs blossom as if we were hearing them for the first time.

Say what you will about Flavor Flav's notorious "Flavor of Love" exploits, but the aptitude and unbridled enthusiasm he adds to the PE repertoire makes for an unforgettable concert experience. A naturally gifted entertainer, Flavor is the jester to Chuck's no-nonsense straight man and songs such as "911 is a Joke" and "Can't Do Nuttin' For Ya Man" gave him a chance to show people what he's all about.

I equate PE's dynamic duo of emcees as the Lennon/McCartney of hip-hop in the sense that their convergence of talent ignites the stage like few musical combinations ever have. Not bad for a group of guys who have eclipsed the 50 year mark in age.

Professor Griff, leader of the S1Ws and, as a fan's sign read, "The Professor of Truth," laid the question of age to rest rather quickly by performing 10 one-armed push-ups in the middle of the stage thus solidifying one of the most energetic shows I've ever attended.

Now, one would think that the evening would conclude with a raucous delivery of their 1989 anthem "Fight the Power" (which Chuck D himself told me "speaks for itself), but they just weren't ready to leave yet. "She Watch Channel Zero," "Night of the Living Baseheads," Sly and the Family Stone's "Thank You (Falettinme Be Mice Elf Agin)" and even a Flavor Flav drum solo all made appearances to ensure that the audience didn't go home disappointed.

What separates PE from other mainstream acts is that they live, breathe and believe their radical philosophy so soundly that they're willing to set aside time at the end of every show to speak out against whatever topic is currently causing a stir.

On this night, Flavor Flav took the reins and spoke from the clock about how racism is destroying the country from within. I was touched and, judging from the applause, everyone else in the room was as well.

People often question the direction of hip-hop in 2010 but, as long as Public Enemy is around to "Say It Like It Really Is," I think the genre will be just fine.

An interview with Chuck D

In the liner notes of Public Enemy’s 1990 tour de force “Fear of a Black Planet,” Chuck D. is referred to as “The Lyrical Terrorist” and 30 seconds of “Brothers Gonna Work It Out” is all one needs to see why he’s earned that menacing distinction. His ideas are subversive, his lyrics are abrasive and his stone cold baritone strikes fear into the hearts and minds of Reagan Conservatives from Buffalo to Wasilla. While commercial radio was being dominated by the innocuous melodies of Lionel Richie and Whitney Houston, he came along with an authentic barrage of Black militancy that used intelligent rhymes as its main source of artistic sustenance. At its peak, Public Enemy was a politically charged Afrocentric alternative for those left wondering why the triumphs of the 1964 Civil Rights Act felt like a distant memory.

With a little over a week until Public Enemy invades Buffalo’s Town Ballroom to celebrate the 20th anniversary of “Black Planet,” I had the opportunity to speak with Chuck D. about all things hip-hop and even get his take on a few inflammatory issues currently facing the country at-large.

Question: Before we get started, I’d just like to say that I’m a huge fan and it’s a pleasure to talk with you.

Chuck D: It’s a pleasure talking with you.

Question: It’s been a long time since Public Enemy has played Buffalo. What can fans expect this time around?

Chuck D: They can expect a classic show. We’re calling this outing the “Fear of a Black Plan” tour and we’re ready to bring energy back into live performance. We have a great group called The Impossebulls opening up and they’re the first organic hip-hop group of the new millennium. DJ Lord has replaced Terminator X (retired in 2003), but it’s been a long and great tour and we’re gonna bring it hard.

Question: How has Public Enemy changed in the absence of Terminator X?

Chuck D: Well, we’ve added a guitarist and a drummer and are able extend songs within a live setting, which we didn’t do before. The idea for that actually came from playing with The Roots a while back, so it’s a great changeup for the group.

Question: You wrote “By the Time I Get to Arizona” in 1991 as a response to the Governor’s campaign to stop celebrating Martin Luther King Day. Did you ever think Arizona would again be at the center of controversy 20 years later?

Chuck D: (Laughing) Nobody can predict the future, but I can’t say that I’m surprised by what’s happened as of late. I think a lot of the problems stem from paranoia and fear of brown people, which somehow justifies the white man to take land that wasn’t his to begin with. Everyone talks about how the illegal immigrants are the problem, but I think having a policy on human beings is just fucked up and a way to divert peoples’ attention away from real threats.

Question: Which are?

Chuck D: Media, Government, Ignorance. Just because we have a Black president doesn’t mean everything is perfect. There’s still a lot of work to be done.

Question: What do you think about professional athletes threatening to boycott events held in Arizona?

Chuck D: Athletes need to look out for themselves and not allow outside interests to control them. Growing up, my heroes were guys like Muhammad Ali, Kareem Abdul-Jabbar, Bill Russell, Jackie Robinson and Jim Brown. They made an impact on their own terms. Roberto Clemente would be rolling over in his grave if he could see how Black athletes are being treated these days. The Black athlete is the silent slave of the new millennium and you can quote me on that.

Question: It’s been 20 years since “Fear of a Black Planet” was released. How do you think the album’s themes have evolved through the years?

Chuck D: Before the Internet, the only news we had was what we saw on television and that album was our way of articulating life as we saw it. Songs like “Pollywanacraka” and “Burn Hollywood Burn” reflected issues that mainstream media didn’t think twice about. You guys up in Buffalo should be familiar with government not looking out for the people. At one time, Buffalo had the Erie Canal and other shipping industries to provide jobs, but now the market has evaporated and left a gaping hole in the city. There’s not a job worth beans. The media has a lot to do with it. When MTV is putting forth an image of South Beach as the place to be, why would people want to move to fuckin’ Schenectady? The bottom line is people like to migrate and move on, because they need housing that is super affordable. Look at the BP oil spill. People see the CEO getting multi-million dollar bonuses for fucking everything up and they get upset.

Question: What’s your opinion on the state of hip-hop today?

Chuck D: I think hip-hop is in a good place. Even though the record business is failing, you still have a rich and diverse array of artists that are getting out and learning the business. Today, bands need the opportunity to succeed on both a local and global level and there’s no excuse for not understanding how the system works. Regardless of what you believe, there’s an audience out there somewhere and artists have to find a way to tap into that. No longer are fans just numbers. I’ve been in the business for 25 years and it irks me every time I see rappers who get into the game without knowing how it works. Listen David, the cheapest price you can pay in today’s society is attention and people need to understand that.

Question: Lastly, what were your expectations for hiphopgods.com when it began?

Chuck D: I wanted to create a home for classic artists that may not get the attention they deserve. I was inspired by classic rock and artists like Fats Domino, so I felt that modern hip-hop artists needed a place to go where they could learn about all the great artists of the past. I wanted other classic artists to know that their time is not over and that they’re still a major piece of the picture.

2010 Summer Movie Catch-Up

As much as I love engaging in profound cinematic analysis, I decided to give readers a break this time around by trimming my reviews down to a few pointed sentences. My latest GERD attack has landed me on the Physically Unable to Perform List and, to be honest, I’m not particularly fond of writing marathon-esque reviews at this point in time.

Then again, few of the films we’ve experienced this summer are worth exhausting that kind of effort over, so it’s a win-win for all tomorrow’s parties.

Let’s dig in:

“Iron Man 2” – Robert Downey Jr. reinvented himself in 2008 as free-spirited playboy/munitions guru Tony Stark but, in 2010, he’s subject to an overstuffed script that loses steam once Stark dons the Iron Man garb. You know your film is in trouble when the lead character is more engaging without the bloated hullabaloo that most superhero films pride themselves on and Downey’s sparkling wit is an inopportune casualty.

Every time he and Gwyneth Paltrow begin to elevate the material to a level worth admiring, another vacant battle scene comes along to ruin what could be a pretty snappy action-comedy. I’m reminded of the 1986 Tesla album “Mechanical Resonance,” because that’s really all that results from the 124-minute running time. Machines outweigh emotions and all the audience can do is look ahead with apprehension to 2012’s Iron Man 3. The additions of Sam Rockwell (scene-stealing), Scarlett Johansson (insatiably feisty) and Mickey Rourke (having a blast) make waves, but not enough to make this sequel rise above its apparent lack of flavor.

- ** ½ out of 4

“Robin Hood” – If someone told you that Russell Crowe, Cate Blanchett and Ridley Scott would be spearheading a project based on the merry exploits of Robin of Loxley, you’d be psyched right? I know I was upon first word, but the finished product touts about as much excitement as Sunday at the US Open sans Tiger Woods. Everything that should be oozing with jingoistic friction is victimized by a script that lumbers along at a snail’s pace and leaves the performers floundering in a sea of historical inertia. As much as I loved seeing Blanchett on screen after a year layoff, not even the radiant chemistry she has with Crowe is enough to make me eager for a return to Sherwood Forest.

- ** out of 4

“Prince of Persia: The Sands of Time” – Perhaps my expectations were low or maybe I was simply in high spirits, but I found this harmless video game adaptation to be a rousing way to spend an afternoon at the cinema. Director Mike Newell strings along one hokey action scene after another yet the dedication of Jake Gyllenhaal and the hammy wisecracking of Alfred Molina are more than enough to bring a smile to my face. If inclined, you could read the plot as a jumbled metaphor for America’s current Middle Eastern oil predicament, but you’re better off just enjoying the action and marveling at how stunning Gemma Arterton looks in parachute pants.

- *** out of 4

“The Karate Kid” - What strikes me most about the Jaden Smith-led remake of “The Karate Kid” is its splendid use of Beijing, China as a backdrop for the story. Instead of reducing the host of the 2008 Summer Olympic Games to a highly-polluted foreign network, director Harald Zwart puts the viewer directly in the heart of a city in which people work and play just like any other that American audiences are accustomed to seeing. Not only does Dre (Smith) have to adapt to a change in scenery, but he must also find a way to coexist with a group of bullies out to sour his welcome and the original storyline follows from there. Smith is impressive with his cornrowed charisma and Jackie Chan does the whole solemn widower bit well, but Taraji P. Henson provides the movie with the requisite sensitivity to complete the triangle. It’s a definite crowd pleaser.

- *** ½ out of 4

“Toy Story 3” – Is it smart, funny, sad or moving? How about all four? In one of the best films of the year so far, Pixar continues the story of Andy and his bedroom of misfit toys with a jaunt that is guaranteed to melt the hearts of audiences worldwide. Because many of the children who grew up with the first film are now in college, the fact that Andy is also going off to school may bring some added drama to a tearful yet ultimately ebullient celebration of growing up.

- **** out of 4

“Rush: Beyond the Lighted Stage” – If you saw John Hamburg’s brilliant 2009 bromedy “I Love You Man,” you’ll recall the scene in which Paul Rudd and Jason Segel jam at a Rush concert while Rudd’s fiancée played by Rashida Jones looks on with a mystifying stare. Sadly, Jones’s reaction is echoed by a section of the public that doesn’t “get” why Rush is such an amazing musical outfit. This documentary explores the origin of the band’s mainstream disconnect as well as how others in the industry have been influenced by their sonic sound qualities and I couldn’t get enough.

- **** out of 4

“Greenberg” – Noah Baumbach’s third feature is being marketed as “Ben Stiller like you’ve never seen him before,” but it’s really so much more than that. Yes, it’s about a 40-year-old Jewish misanthrope who spends his days writing complaint letters to corporations that don’t live up to his standards, but Stiller’s subtle nuances play off Greta Gerwig’s train-wreck vulnerability beautifully. My guess is most people will hate this film without giving it a fair shake, but everything about it works and works to indie-film perfection.

- **** out of 4

“The Girl With the Dragon Tattoo” – I don’t know why everyone in Hollywood is clamoring for an Americanized remake of this risqué Swedish gem, because Niels Arden Oplev’s version stands alone as an incisive piece of entertainment. Noomi Rapace turns in one of the best performances of the year as Lisbeth Salander and draws you into her tormented past as easy as she bypasses any computer firewall that comes her way. The content is rough, the violence is said to be borderline misogynistic (I disagree) and it’s subtitled, so don’t say I didn’t warn you.

- *** ½ out of 4

“Dogtooth” – This small, demented Greek film is exactly the type of project that the term “Art House” is made for. You watch it, you have no idea what it all means and then you walk out of it thinking that the entire setup was a stroke of genius on the part of director Yorgos Lanthimos. Watching these three teenagers go through their father’s unorthodox homeschooling is taxing at times, but I assure you the reward is worth your investment.

- **** out of 4

Coming Soon: “Inception” – I’ve seen it, but I’m going to need more than a few sentences to get a handle on it.

If you were any nicer, you wouldn't exist...

Ladies and gentlemen, I come before you tonight in search of answers. I come before you tonight as a man seeking to decipher the labyrinthine inner workings of the female psyche and, with any luck, reach a tentative conclusion as to why women love assholes. Spend 10 minutes walking around any of the area’s outdoor festivals this summer and you’ll get a sense of where I’m coming from.

I’m convinced that this phenomenon has existed since the beginning of time, so why not devote a little time to exploring why?

After a year spent meandering through the shallow, vapid wasteland known as Internet dating, I’ve come to the conclusion that being called “nice” is the single most devastating compliment that can be bestowed upon a member of the human race. Think about it. When someone says “That’s nice,” they’re really just dancing around the negative energy that simmers below their pseudo-friendly exterior. They avoid confrontation in the name of common courtesy yet, deep down; they couldn’t care less about whatever it is you’re talking about.

Relationships are no different. When a woman says “You’re such a nice guy,” what she’s actually saying is that you’ll suffice until the “cool” guy gets here. All of the chemistry and sparkling rapport you’ve spent hours cultivating is nothing more than a smoke screen designed to let you down easy once a “real” man becomes mindful of her existence. It doesn’t matter if you’re a cosmic conversationalist or the poster child for feminine understanding and respect, because you’ll never be what Elaine Benes would call “sponge-worthy.”

Are women lying when they express their desire to find a genuine guy? Do they have some unexplained biological imperative that attracts them to guys who swear and wear tight shirts?

I don’t pretend to have a definitive response to either of those questions, but experience has led me to believe that nice guys have to exert twice as much effort just to have a chance with women deemed universally attractive.

When discussing the Sunset Strip of the 1980s, director Penelope Spheeris speculates that certain women derive arousal through sexual discrimination and I can’t help but think she might be onto something. Women literally threw themselves at every drug-addled, disease-infested rock star that crossed their path and wore the misogynistic overtones of the scene like a badge. They were objectified on a daily basis yet never seemed to get enough public humiliation to eradicate their delusions of grandeur.

Of course, I use the Strip as an extreme example of how “nice” guys are no match for the allure of “bad boy” rockers, but the general idea is very much in play.

If you’re still reading, you may be under the impression that I’m complaining about this sorry state of affairs, but that’s not the case at all. To say I’m complaining would be to imply that I somehow wish to pull a John Kerry and flip-flop my way over to the dark side. We both know that will never happen.

If anything, this is a rallying cry for guys who still cringe when thinking about how Laura chose Ted over Steve on “Family Matters.” Granted, she did end up marrying Steve in the show’s final season, but only after she realized the error of her ways. Maybe that’s it. Maybe certain physically stunning yet annoyingly self-important women feel that they’ll have us “nice” guys to fall back on in the event that their other relationships don’t pan out.

Think of it like that scene in the Howard Deutch classic “Pretty in Pink” when Duckie (Jon Cryer) tells Andie (Molly Ringwald) that he’ll no longer be around to offer unrequited emotional support. That’s what we’ve come to as a society. External beauty and materialism have overtaken intelligence and authenticity in the center stage of a relationship and the “nice” guys are the odd men out on all fronts.

Once again, these are just the astute observations of someone trying to get a handle on the world as we know it, so consider it an ongoing dilemma with no end in sight.

2010 Molson Canal Concert Series

The lineup for the 2010 Molson Canal Concert Series is the musical equivalent of Thanksgiving dinner. 

Some of the acts you love, some you hate and others will have to appeal to you when the time comes to get down to business.  City of Lockport mayor Michael Tucker has stated publicly that this is the "best year yet," but I have a feeling that not everyone is as smitten with the current crop of musicians.  I'll admit that I wasn't sold at first glance, so consider this an opportunity to let the organizers know how you feel.

Is it wrong to complain about a free concert series?  Perhaps, but I don't think it's out of line to demand a lineup that doesn't scream of convenience and desperation.

What do you think?

June 25 - Rusted Root - They've become a staple of the outdoor summer concert season and always put on a rousing set of freewheeling jam tunes, but they're what I would call a safe pick.

July 2 - Our Lady Peace - I'm one of the biggest OLP fans around, so I have no problem bringing them back for a second year.  As always, get there early and go easy on the liquids.

July 9 - Gretchen Wilson - WNY's growing Country scene will be all over this one

July 16 - Three Dog Night - Without vocalist Chuck Negron, something just feels incomplete.

July 23 - Blues Traveler - You can't go wrong with John Popper and Co. at their best

July 30 - Rik Emmett - He's still a dynamic axeman but, once again, he plays the area every year and offers few surprises.

Aug 6 - Kansas - "Carry On Wayward Son" and "Dust in the Wind" still pack an emotional punch

Aug 13 - Tears For Fears - 1985, sure, but 2010?  Really?

Aug 20 - Big Sugar - The Canadian blues-rockers just reunited and, in my opinion, will deliver the finest show of the series.

Three Days Grace headlines diverse springfest

For me, the University at Buffalo’s Springfest 2010 was literally a last-minute audible.

I awoke the morning of the show and decided that six hours of listening to one of the most anomalous lineups in recent memory would be an inspired way to spend my Saturday night.

I mean, can anyone really argue with a $35 ticket price for an event that could have easily been held in a 20,000-seat arena for twice as much? I didn’t think so.

The fact that the headliner was Canadian alt-rock group Three Days Grace didn’t hurt either so, even if the other acts turned out to be complete rubbish, the evening would’ve still been deemed a success.

Los Angeles-based folk trio Lady Danville took the stage first and offered the crowd a collection of modest, uplifting “road” tunes that screamed of what writer David St. John would call a “West Coast sensibility” of freedom and permission. Imagine that you’re driving on a serene summer day with the windows ajar listening to Led Zeppelin’s “Going to California” and you’ll get idea of the laid-back groove I’m talking about.

Guitarist Daniel Chang displayed intricate finger-picking and the vocal harmonies were sublime, but I feel the music’s charm may have been lost on those expecting a hardcore rock show.

Luckily (or not), Florida’s own Anberlin was around to quench their thirst for frantically uneven pop-rock that doesn’t assert itself as being anything special.

Lead vocalist Stephen Christian sings at a pitch reserved for the helium-induced wailing of every emo band this side of Panic! At the Disco, but does so over riffs more suited for grunge than whatever category they happen to fall into. Odd stuff indeed, but it was certainly a spirited effort and no one can take that away from them.

Then it was onto N.E.R.D, a Pharrell Williams-led rap-funk outfit that made up for in funkadelic pizzazz what they lacked in lyrical poignancy.

Williams himself announced this portion of the evening to be “a celebration of the beautiful female” and later cemented that notion by bringing female audience members up on stage for a little Pharrell-style dance off.

The band played an inspired fusion of rock, rap and funk carried by dual drummers who were the real stars of the show, but I can’t say that I’d rush out to buy the record.

Three Days Grace took the stage to what felt like an empty arena and proceeded to play an explosive ninety minutes of alt-rock that didn’t miss a beat in terms of loyalty to the recorded material.

“Break,” “The Good Life” and “Pain” set the mood while lighter tunes like “Last to Know” and Phil Collins’s “In the Air Tonight” brought the emotional depth vocalist Adam Gontier is so skilled at divulging.  They put on a sizable arena show with pyrotechnics and all for an audience of which less than half appeared to be familiar with the band’s work so, for that, I applaud them.

Getting a little country with Ransomville

When The Buffalo News unleashed its list of ‘Bands to Watch’ in 2009, burgeoning Country-rock outfit Ransomville was notably absent from the proceedings. Despite opening for the likes of James Otto, Charlie Daniels and David Allan Coe, this fiery quintet with energy to burn couldn’t fight their way into mainstream consciousness. They had the look, urgency and appetizingly antithetical sound to separate them from the pack but, for some reason, local media didn’t want to bite.

To put it mildly, the idea of their brand being anything but your grandmother’s Country music has positioned them in a realm void of trite classification and old-school sticklers just can’t have that.

About halfway through their set at Club Paradise in Blasdell on Saturday, I experienced what Jules Winnfield of “Pulp Fiction” would refer to as a “moment of clarity.” As someone who has never been particularly fond of Country music in any way, shape or form, I came to the realization that the genre once defined by whiny relationship yarns and small-town axioms doesn’t have to suck. What these guys brought to the table is a reminder that no matter how banal a scene appears to be, all it takes is one ambitious young band to come along and inject the industry with a much-needed sense of direction.

Ransomville consists of lead vocalist Dan McClurg, guitarists Rob Burgio and John Rosini (both formerly of Seven Day Faith), bassist Josh Long and drummer Johnny Misso. I had the opportunity to speak with the guys prior to Saturday’s show and found their humility to be most engaging as they plowed through whatever questions came their way.

Although it was only 12 minutes, I got the sense that if they continue down their current path, they could easily find themselves in the thick of things come late 2010.

Then again, don’t take my word for it. Here’s what they had to say:

Question: How did you guys decide on the name Ransomville?

Burgio: I think it was the phrase “held for ransom” that initially drew our attention and we threw ‘ville’ behind it to make it sound country, because that’s what we are. It has nothing to do with the town of the same name as none of us are from there, so we just thought it sounded Country-rock and stuck with it.

Question: What are some of your major influences?

Rosini: Anything from 80s hair bands and classic rock to my earlier involvement with the pop scene.

McClurg: I grew up with more traditional Country artists like Merle Haggard, Waylon Jennings and Johnny Cash, but I also enjoy modern acts like Kenny Chesney.

Burgio: We’re not trying to do this or that. We’re just trying to write a good song and we have a very Country vocalist so, no matter what we do, it’s going to sound Country.

Question: How do you think being in Western New York has impacted your ability to make it within the Country scene?

Burgio: So far, so good. The good thing is that we’re one of the only original Country bands around that pushes their own music and prints their own records. A lot of bands appear to be focusing on covering Country, which is great, but our aim has always been we’ll do our own music and then add a few covers along the way. We stick to the integrity of what we do and everything else is secondary. Luckily, the response has been unbelievable. Our fan base is growing, the CDs are selling, it’s great. Of all the bands I’ve been in, it’s amazing how rapidly people are attaching themselves and wanting to help us out.

Misso: We have heavy rock fans that are into this band. People from all genres of music are calling us saying ‘I love your stuff and I don’t even like Country.’

Burgio: Yeah, I mean all throughout Wyoming County we’re building a strong following and every show gets busier and busier. Dan’s from there, so they already know him as a vocalist and putting him together with our band has been terrific.

McClurg: From what I’ve seen, people love the screaming guitars and intricate soloing so, if we throw a strong Country lyric on top of that, you can’t beat us.

Question: Where do you get your main inspiration for songwriting?

Burgio: Women. I know it sounds cliché as hell, but it really is that simple.

McClurg: I think one of my goals is to acknowledge the people fighting overseas because, if it weren’t for them, some of us may be drafted out right now.

Burgio: We didn’t finish the CD and say we’re done. We continued to write while the record was being finished and I truly believe our songwriting can come from anything. We’re looking for a label to come in with some money and guidance to bring out the best we have to offer.

Question: Would you say the crowds have been more male or female?

Burgio: It’s a good mix with different age groups as well. I mean, we’ve seen an 80-year-old grandma out there having a good time, so it’s certainly a variety.

Question: Are there any mainstream bands that you look at and say “We’re just as good as they are?” If so, what are they?

Burgio: You have artists like Jack Ingram, Carrie Underwood, Taylor Swift and Jason Aldean, but not too many bands. That’s what I grew up with, that’s what I live for. I think the industry is screaming for a real band to come out that has personality and can connect itself to the audience.

Rosini: There really aren’t too many bands at the moment. You have Rascal Flatts, but they’re a trio and we’re actually a rock band.

Burgio: There’s no doubt in my mind that we can hang with anybody.

Megadeth celebrates 20th anniversary of Rust in Peace

Heavy Metal fans are a resilient bunch.

They attend the shows, buy/download the albums and wholeheartedly embrace the preservationist philosophy that makes the genre so alluring. Mainstream society has labeled them barbaric man-children searching for an excuse to be violent, but they have channeled their marginalized status into a rallying cry hell-bent on furthering the “us vs. them” mentality.

They’ve endured deaths, congressional hearings and the arrival of Grunge only to emerge stronger and more aware of just how threatened the public is by an alternative worldview. If Rock and Roll is about sticking it to the “man,” then metal is about sticking it not only to the man, but anyone who has ever told you to keep your mouth shut.

For those of you out there who still look down upon Heavy Metal as nothing more than noxiously feral clamor with little social significance, allow me to present last Saturday’s concert featuring Megadeth, Testament and Exodus as exhibit A for how off-base general perceptions have become. Few bands would’ve been able to keep up with the physically demanding tempo of the evening’s material and the fact that most of the members are closing in on 50 makes it that much easier to applaud. It was a fan’s paradise and the bands rewarded them in every way imaginable.

First up was Exodus and they proceeded to filter out any lingering notions that it was going to be a tranquil event when singer Rob Dukes refused to get started until the pits were open for business. The crowd was up to the challenge, so the set was marked by screeching vocals and a “Gangs of New York”-esque wall of death in which the audience charges into each other hoping to achieve the ultimate metal high.

I’ll admit that I didn’t know too much about Exodus other than they were Metallica guitarist Kirk Hammett’s original group, so the music didn’t quite resonate with me the way I’d hoped. They seemed content to cater to the die-hards while ignoring any potential converts and, if I were to assign an epitaph to this portion of the show, it would read “I survived the circle pit and all I got was this mildly engaging set form Exodus.”

After about 45 minutes of rising energy levels, Testament took the stage to perform their 1987 debut “Legacy” in its entirety and reminded me of why I love this music in the first place.

Vocalist Chuck Billy is such a killer showman that, at times, it felt as if they had three guitar players, because he was using the microphone stand to echo whatever frenetic solo lead guitarist Eric Peterson happened to be busting out at the time. His voice was fresh, controlled and primal to the point that his 2001 cancer scare is but a distant memory as every breath injected just the right amount of passion into each song.

Classics such as “Do or Die,” “Alone in the Dark” and “Apocalyptic City” displayed exemplary execution and, judging from the raucous ovation, still sound as menacing as they did 23 years ago. I was curious about how the absence of virtuoso Alex Skolnick (currently touring with Trans-Siberian Orchestra) would affect the album’s punch, but the rest of the guys compensated nicely and delivered it with the rebellious flair we’ve come to expect.

As for the main attraction, if you consider Metallica to be The Beatles of thrash metal, then Megadeth is undoubtedly The Rolling Stones. They have the speed, intelligence, versatility and all-around adversarial attitude to keep churning out tunes as long as Dave Mustaine’s ego will let them.

From the opening note of “Holy Wars…The Punishment Due,” Dave Mustaine, David Ellefson, Chris Broderick and Shawn Drover exploded onto the Town Ballroom stage determined to silence the naysayers once and for all.

I like to think of Megadeth’s oeuvre as a classically-based hybrid that emphasizes intricate arrangements and staccato notes the same way a symphony from Beethoven or Mozart would which, to me, speaks to how complex their material really is. Watching them tackle songs such as “Take No Prisoners” and “Tornado of Souls” in a live setting is an adrenaline rush unlike any I’ve experienced at a concert and the fluidity with which Mustaine and Broderick tear through the riffs is metal at its finest. Having Ellefson reunite with the band a little over a month ago only added to the excitement, so any fan that missed out on this one should make an attempt to catch them in Toronto on July 29 to see “Rust in Peace” the way it was meant to be. You won’t be disappointed.

Not that it means anything, but I overheard some guys on the subway talking about how Megadeth's 90-minute set was beyond what Metallica brought to HSBC Arena back in October 2009.

I'm just saying...





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The Best Films of the Decade - Complete List

Although I was pleased with my list, I feel as if I may have rushed things a bit and left out certain titles that I really love. It's impossible to please everyone but, in the interest of closure, I decided to compose a list of films that I feel defined that last decade.

This should provide a well-rounded glimpse into what the '00s were all about. If your favorites still aren't included, please forgive me and remember that the ranking system is entirely arbitrary. If someone can explain how #7 is better than #9, I'd love to hear it.

My aim with this list is to urge you check out films that you haven't heard of and re-watch ones that get better with age, so enjoy.

Mulholland Drive
Almost Famous
High Fidelity
Memento
Zodiac
There Will Be Blood
25th Hour
Amores Perros
Requiem For a Dream
Oldboy
Sideways
Eternal Sunshine of the Spotless Mind
Before the Devil Knows You're Dead
I'm Not There
Into the Wild
Munich
Syriana
Capturing the Friedmans
A History of Violence
Eastern Promises
Once
The Dark Knight
The Wrestler
The Hurt Locker
Up in the Air
The Departed
United 93
A Serious Man
Pan's Labyrinth
Lost in Translation
Rachel Getting Married
The Squid and the Whale
Grizzly Man
Michael Clayton
Good Night and Good Luck
The 40-Year-Old Virgin
The Lord of the Rings Trilogy
Match Point
Hotel Rwanda
Dogville
You Can Count On Me
Mystic River
Minority Report
Birth
American Splendor
City of God
The Descent
No Country For Old Men
Little Miss Sunshine
Children of Men
The Bourne Trilogy
Y Tu Mama Tambien
Enron: The Smartest Guys in the Room
Master and Commander: The Far Side of the World
Gangs of New York
4 Months, 3 Weeks, and 2 Days
Ratatouille
The Death of Mr. Lazarescu
Persepolis
Jesus Camp
Man on Wire
Signs
The Royal Tenenbaums
The Three Burials of Melquiades Estrada
Cache
The Aristocrats
Downfall
The Aviator
The Lives of Others
Traffic
Punch Drunk Love
Notes on a Scandal
Breach
Kill Bill Vols. 1 + 2

Bruce Springsteen and the E Street Band 11/22/09 Review

Before diving into last November’s magical evening with Bruce Springsteen and the E Street Band, I feel compelled to express my dissatisfaction with the way the entrance into HSBC Arena was handled. I don’t know if it was due to the band’s delay or simply abysmal planning on part of the arena staff, but witnessing 19,000 irate concertgoers trying to pile in all at once surely wasn’t a sight anyone expected to see when the day began.

Much like the tax collectors of the 1700s, I’m convinced that had the architect been in attendance, he would’ve needed a police escort to avoid being hung for crimes against humanity.

It was that chaotic.

Something tells me that The Boss himself would not have approved of huddled masses standing around as if it were a Depression-era shipping yard. I heard plenty of rumblings from people saying they won’t be attending another event so, if the arena cares at all about customer satisfaction, they’ll prevent such bedlam in the future.

As for the show itself, I think it’s destined to go down as one of the most epic live performances in the history of Buffalo music. Everything came together at the exact same moment to remind people how Rock and Roll, at its peak, can provide the type of uncompromising catharsis seldom found in today’s materialistic super-culture.

From the opening line of the rust-belt anthem “Wrecking Ball,” the heart of every female in attendance melted and signaled to the band that for the next three hours, the crowd was their’s for the taking.

Whether it was an improbable crowd surf during “Hungry Heart” or a fuming solo on “Lost in the Flood,” Springsteen patrolled the stage with all the brio and bright-eyed optimism fans have come to expect from the 60-year-old Jersey rocker and the rest of the band matched his energy on every level. When Bruce wanted more, Clarence, Steven, Nils, Roy, Garry, Soozie, Charles, and Max played as if it was the last time they would ever step foot on the stage while giving this reviewer certifiable goose bumps in the process.

Rumor has it that this was indeed the swan song for the E Street Band as we know it, but I don’t buy it for a second. This wasn’t some has-been outfit stumbling to the end with alcohol and mumbled lyrics aplenty. What we saw that night was a storied troupe of musicians at the top of their game, a wild crew of virtuosic trailblazers with obvious unfinished business.

Listening to Bruce wail on Chuck Willis’s “(I Don’t Want to) Hang Up My Rock and Roll Shoes" was a stirring farewell but, given the state of today’s rock scene, let’s hope he’s just getting started.

The Best Films of the Decade

No need for an introduction, so here they are:

1. "Mulholland Drive" - I like to think of David Lynch's stunning puzzler as a surrealist companion piece to Billy Wilder's 1950 masterpiece "Sunset Boulevard" in that they both present Hollywood as being an intoxicating vacuum that obliterates your ambitions and devours your spirit. The film is a product of chilling tone and idiosyncratic color schemes, both of which seem to get more complex every time you watch it. You may feel lost at times, but the career-best work from Naomi Watts is enough to hold you until the breathtaking finish.

2. "Almost Famous"/"High Fidelity" - Arguably Cameron Crowe's greatest achievement, this portrait of the 1970s music scene through the innocuous eyes of a 15-year-old journalist is pure magic from beginning to end. I'm not one who's known to get emotional during films, but the 'Tiny Dancer' scene envelops me each time I see it and stands as one of the finest combinations of sight and sound in cinema history.

John Cusack has long been one of my favorite actors and his work in "High Fidelity" is refreshingly real and sarcastic in a way that I aspire to be myself. Nick Hornby's novel is ripe with enough eclectic musical knowledge and hysterical witticisms to please any die-hard fan and director Stephen Frears knows how to get the most out of an on-screen romance.

3. "Memento"/"Zodiac" - Does it really matter that Guy Pearce hasn't been able to top this one since? I don't think so, because what he accomplishes here is remarkable through and through and it's a shame that the Academy didn't feel the same.

1970’s San Francisco is the sight for David Fincher’s spellbinding police procedural that takes the viewer deep inside the mania experienced by three men obsessed with cracking America’s most notoriously unsolved serial murder case. First-rate performances from Jake Gyllenhaal, Mark Ruffalo, and Robert Downey Jr. crackle with energy and sarcasm as each actor allows himself to get totally swept up in the chaos that eventually unfolds. The 2-hour 37-minute running time seems to fly by as the anxiety builds and the possibility that he may still be on the loose can be both frustrating and unnerving to those unfamiliar with the real police files.

4. "There Will Be Blood" - Paul Thomas Anderson's towering oil saga throws so much on the table that you might feel overwhelmed the first time you watch it. It's about greed, faith, deception and how far one is willing to go in the name of ambition. Even with an off-the-rails final act, the performance from Daniel Day-Lewis stands among the best ever.

5. "25th Hour" - This penetrating drama about a drug dealer re-evaluating his life the night before he goes to prison captures the ethos of post-9/11 NYC like no other film has. Edward Norton and Philip Seymour Hoffman are brilliant as usual as a pair of lifelong friends who realize that life as they know it is over, but it's Spike Lee's invasive personality that jumps out of the camera and demands you to keep watching.

6. "Amores Perros" - The first of Alejandro Gonzalez Inarritu's multi-layered epics is, I think, his most unsettling and fully realized due to its ability to hold you despite graphic scenes of dog fighting. It's a tense story of love and lust that never hits a false note and I urge you to put your unwarranted fear of subtitles aside.

7. "Requiem For a Dream" - Darren Aronofsky challenges you to keep your eyes open as Ellen Burstyn, Jared Leto, Jennifer Connelly and Marlon Wayans descend into drug-addled madness and you might just lose that battle without even realizing it.

8. "Oldboy" - Korean director Park Chan-Wook has a knack for making audiences cringe on demand and the nasty little revenge tale he drums up here fits that bill to a tee. See it and then see it again.

9. "Sideways" - Alexander Payne and Jim Taylor took a quirky, high-spirited novel from Rex Pickett and turned it into one of the most enjoyably low-key cinematic gems of the decade. With its disheveled everyman duo of Paul Giamatti and Thomas Haden Church, this one took us on a life-altering journey through the stunning ins and outs of California wine country and extracted some hysterical moments along the way. Seldom does a film capture the uncompromised essence of a book so impeccably.

10. "Eternal Sunshine of the Spotless Mind" - Every time Charlie Kaufman pens a script, it’s guaranteed to be unlike anything you’ve ever seen before and director Michel Gondry certainly did his part to deliver on that promise. His melancholy portrait of two endearing eccentrics trying to literally erase their relationship from memory is beautifully woven together to create something totally void of all rom-com cliché. Jim Carrey and Kate Winslet are pitch perfect as the struggling couple, because they leave the glamour at home and delve into the painful aspects of romance with bona fide apprehension.

Honorable Mention - "Before the Devil Knows You're Dead," "Capturing the Friedmans," "Once," "Munich," "A History of Violence," "I'm Not There," "Into the Wild," "Lost in Translation," "The Dark Knight," "The Wrestler," "The Hurt Locker," "Up in the Air," "Eastern Promises," "The Departed," "United 93," "Pan's Labyrinth," "Grizzly Man," and "The 40-Year-Old Virgin"

Top 10 Films of 2009

For weeks, I’ve been listening to pundits ramble on and on about how 2009 was a disappointing year in the world of cinema. They say that Hollywood has become nothing but a vapid wasteland where vision and originality are tossed aside in favor of obtuse jesting and six-pack abs (“Twilight” anyone?). That 90-minute romantic comedies with little romance and even less comedy will continue to earn green lights due to their low risk and broad fan base.

I, for one, don’t believe a word of those naïve musings, because every year offers its fair share of exquisite entertainment for those willing to extend beyond their commercial surroundings. This may involve a bit of concentrated taste alteration on your part but, trust me, your efforts will never go for naught.

Contrary to popular belief, the film industry is not on life support.

Having said that, 2009 struck me as a year of transition, both politically and culturally. As a country, we’re on the heels of the Bush Administration and on the cusp of Obama Country. As a society, we’re still dealing with bailouts and a war that, in my mind, is still without an end or a clearly defined enemy. We’re a civilization in limbo, a so-called evil empire on the brink of annihilation with no one to blame but ourselves and the cookie-cutter politicians we elected.

I’m a firm believer in the notion that cinema reflects the landscape in which it's produced so, with that key element in mind, I present to you my picks for the 10 best films of 2009.

1. “A Serious Man” - In their finest work since “Fargo,” Joel and Ethan Coen tap into their Jewish heritage to give us a “Book of Job” for the hippie generation (It takes place in 1967) and I’d be lying if I said I didn’t love every misanthropic minute of it. Larry Gopnik is one of the great screen characters of the decade and watching him try to reassemble the fragments of his quiet suburban life amid a sea of negative omens is black comedy at its most poignant level, so I urge you to seek it out as a reminder that your own situation could be much worse.

2. “Up in the Air” - I left the theatre following Jason Reitman’s beautifully devastating tale of detachment and isolation feeling as if he was speaking directly to me. All of the glib observation and cynical wise-cracking exemplified by George Clooney’s suave protagonist touched me on a level I seldom experience at the movies. On the surface, it’s about a charismatic loner who makes his living firing people for bosses who are too spineless to do it themselves, but further examination reveals a Sturges-esque riff on what it really means to be connected in today’s technologically-obsessed climate and Clooney has never been more at ease with himself on screen. Plus, with Anna Kendrick and the gorgeous Vera Farmiga around to light things up like a 1940s screen siren, how could you go wrong?

3. “The Hurt Locker” - Thank you Kathryn Bigelow, thank you for finally crafting an Iraq War film that isn’t laden with politics and faux sentimentality. Forget the heavy-handed drama of “In the Valley of Elah.“ Forget the fledgling babble of “Lions for Lambs.” This is a riveting, tightly wound balls-to-the-wall action flick that challenges your heart to a rat race and never lets up. What we’re presented with here is a group of soldiers who live, breathe, eat and sleep the “war is a drug” philosophy to the point that any time spent out of the desert is a missed opportunity. Jeremy Renner is electric as a swaggering bomb squad leader and Bigelow’s knack for suspense ensures that you’ll think twice before getting up for any free refills.

4. “Summer Hours” - When a 75-year-old woman dies, her estranged children are left to sort through the house-full of priceless artifacts she leaves behind and a heartrending meditation on the importance of family ties soon ensues. It’s sad to think that a woman’s entire life can be summed up by the amount of museum-worthy relics she accumulated, but that’s the harsh reality these characters are forced to deal with. Each item sold or donated is like a piece of their mother being cast off to someone who knows nothing of the significance or sorrow behind it which, to me, makes the narrative that much more unsettling.

5. “Anvil: The Story of Anvil” - In 1984, Canadian speed-metal group Anvil was on the fast track to stardom until a series of really unfortunate events derailed their chances at greatness. Director Sacha Gervasi captures their journey into obscurity with inscrutable honesty and, with a set-up that’s equal parts funny, sad and inspiring, you may just find yourself cheering by the film’s end.

6. “District 9” - Nothing could’ve prepared me for the raw agitation of Neill Blomkamp’s brilliant socio-political alien saga and I stand by my opinion that it’s the best sci-fi flick since 1999’s “The Matrix.” The combination of the steady-cam grittiness and Sharlto Copley’s frantic embodiment of a government goon turned antihero is as dynamic as it gets.

7. “An Education” - Carey Mulligan delivers one of the best performances of the year as a British schoolgirl yearning for a life outside the rigid confines of academia and evokes Audrey Hepburn in more ways than one. Her scenes opposite Alfred Molina crackle with the type of acerbic familial strife that reminds you why Nick Hornby is such a masterful wizard with words.

8. “The Messenger” - Woody Harrelson and Ben Foster (both incredible) star as a pair of casualty notification officers charged with the impossible task of informing loved ones that a soldier has died in action. They use their emotionally vacant approach to the job as a way to avoid confronting their own battle scars, which often manifest themselves with haunting consequences. We knew Harrelson could go for broke, but the extremes to which Foster is willing to go remain the real revelation here.

9. “Inglourious Basterds” - On one hand, Quentin Tarantino’s bloody historical revision is a Jewish revenge tale that dives into its material with irreverent glee. On the other, it’s a glorious, dialogue-driven love letter to the history of cinema that gets better with each salacious slip of the tongue. Can you go wrong either way?

10. “Antichrist” - You have to hand it to Lars von Trier for committing himself so soundly to material that most people would consider morally repugnant. He turns an ordinary weekend camping retreat into a frightening house of horrors with Charlotte Gainsbourg acting as master of mutilation ceremonies and the cinematography from Anthony Dod Mantle is as luscious as any I’ve ever seen. I challenge anyone to come up with a more chilling line than “Chaos Reigns.”

What about “Avatar?” - Despite its thinly-veiled political message and lack of sufficient plot, I found James Cameron’s latest brain child to be one of the most aesthetically arresting forms of participant observation I’ve ever experienced on screen. I’m afraid the film simply collapses under the weight of its amazing first hour and never fully recovers.

Other honorable mentions: “Paranormal Activity,” “Drag Me to Hell,” “Precious,” “This is It,” “Star Trek,” “Adventureland,” “The Hangover,” “Tyson,” “I Love You, Man,” “Coraline,” and “Gomorra.”

Worst - “Watchmen,” “Transformers: Revenge of the Fallen,” “Angels and Demons,” and “Terminator: Salvation”