The nihilistic temperament of Matteo Garrone’s Italian gangster piece “Gomorra” is established early and often through a series of hellish collisions that make the depraved dealings of Michael Corleone seem like a Walt Disney production. Now, this is by no means a better film than “The Godfather,” but the lack of music as well the absence of alluring characters make the execution feel colder and less operatic than anything Coppola could’ve arranged.
These wise guys don’t drive Cadillacs, they don’t wear finely tailored zoot suits and they certainly wouldn’t spend 30 minutes a week spilling their guts to a psychiatrist a la Tony Soprano. They’re motivated by greed and the desire to control a dilapidated region of Naples that is there for the taking, so anyone standing in their way is just begging to be taken out with the morning trash.
Based on Roberto Saviano’s non-fiction account of his time with the Camorra crime syndicate, Garrone’s film presents the day-to-day business of various thugs in a cinéma vérité style that makes you feel as if what you’re seeing is nothing less than the real thing. The people are ordinary, the outlook is bleak and the hits are committed with frightening indifference. My only issue is that we’re given no reason to care about these characters and therefore must sit through the entire two plus hours with the same indifference as the miscreants we’re watching.
- *** ½ out of 4
Despite its aphoristic similarities to 2007’s “Resurrecting the Champ,” Joe Wright’s maudlin, look-at-me Oscar bait “The Soloist” operates somewhat effectively on two levels. The first is an inspiring tale of two men whose unlikely friendship awakens both of them to an assiduous spirit not experienced since their early days. The second provides the audience with a harrowing glimpse into the issue of homelessness in America, which of course is what urged Wright to tell this story in the first place.
I’d like to say that Universal’s decision to abandon last year’s November release date was a mistake, that the brilliant, soulful performance of Robert Downey Jr. would’ve propelled it to award season glory. However, I just can’t do it. What should’ve been a fully realized character study is nothing more than a sometimes great, but mostly dull and by-the-book account of a societal outcast being thrust back into a spotlight he’s not quite ready to respond to.
Like I said before, Downey’s expressive work as Los Angeles Times reporter Steve Lopez is essentially the only thing this film has going for it. He’s hilarious when he wants to be, vulnerable when he needs to be and, unlike co-star Jamie Foxx, presents a well-rounded character with a purpose that the audience can latch on to. When he comes across a schizophrenic cellist living on the streets of Los Angeles, his journalistic ambition takes over and he’s immediately pondering ways to bring this man’s story to the masses.
It turns out that Nathaniel Ayers Jr. (Foxx) was a former child prodigy who dropped out of Julliard for reasons known only to him and the voices in his head. He went from being a classical musician on the rise to a mumbling nomad trying to survive the hard-boiled streets of LA’s Skid Row district and Lopez wants the public to know why.
On paper, the story is as compelling as can be, but Foxx is entirely too one-note to offer any true moments of transcendence. Much of his dialogue consists of disjointed prattle, so it’s not until half way through that we begin to see the potential for prominence he possesses and, by then, I wasn’t in the mood to see it through. I know I’ve said this before, but it does seem like a lifetime ago that Foxx delivered dazzling work in “Collateral” and “Ray,” so here’s hoping the Academy Award-winning talent has a lot more left in the tank.
The conclusion is predictable as expected and the lovely Catherine Keener is relegated to a throwaway role that doesn’t offer much other than a female presence. We’ve come to expect more from Joe Wright (“Pride and Prejudice” and “Atonement”) and, frankly, he let us down.
- ** ½ out of 4
Tuesday, May 19, 2009
Saturday, May 9, 2009
2009 Summer Movie Preview
2009 the number another summer, get down
Sound of the funky drummer - Public Enemy
May
“Star Trek” – Ever since his work on 1998’s “Armageddon,” J.J. Abrams has been carving his own little niche in the Sci-Fi genre and early reviews of this series reboot suggest a vivacious concoction of fanboy rapture that only he could manufacture. I recall seeing the teaser prior to the Abrams-produced “Cloverfield” and not thinking much of it, so here’s hoping that the overall presentation will be accessible to those who can’t rattle off the life story of every character to grace the Starship Enterprise.
“Angels and Demons” – I don’t think I’m alone in saying that 2006’s “The Da Vinci Code” left something to be desired. The dialogue, pacing and pseudo-chemistry between Tom Hanks and Audrey Tautou just didn’t live up to expectations and director Ron Howard appeared to be sleepwalking his way to the payoff. Howard has proven on numerous occasions to be a superb filmmaker, but other than “Apollo 13,” summer blockbusters just aren’t his thing. Although I’ve been told that this prequel is the superior novel of the two, I still find myself hesitant to expect something truly remarkable.
“Terminator Salvation” – I know it’s just innocent conjecture, but rumor has it that Christian Bale’s performance as John Connor doesn’t bring much to the table in terms of palpable substance. If that’s indeed the case, my interest in this film is evaporating quicker than when I first heard that glorified noisemaker McG was going to assume directorial duties. The desire by Hollywood to continuously re-hash old favorites ran out of steam years ago and I refuse to accept that this is the best they have to offer.
“Night at the Museum: Battle of the Smithsonian” – Say what you will about the first installment, but I actually enjoyed it and laughed often enough to justify the ticket price. I’m not expecting Ben Stiller to reach the same comedic heights that last year’s brilliant parody “Tropic Thunder,” but the addition of Amy Adams, Bill Hader (genius) and Jonah Hill to the cast should make it an event movie that both kids and parents can enjoy.
“Drag Me to Hell” – Judging from the trailer, director Sam Raimi appears to have livened up and returned to his B-movie roots with a macabre tale of a loan officer whose dream lifestyle is about to end on a nefarious note. His “Spider-Man” days were certainly successful, but there’s something very “Evil Dead”-esque about this film that has me counting down the days.
“Up” – Everyone has their favorite Pixar creation (“Ratatouille” would be mine) and I’m sure that within days of its release, the journey of a crotchety 78-year-old named Carl Fredricksen will find itself at the top of many Best of ’09 lists. Come to think of it, have the wizards at Pixar ever made a film that wasn’t universally lauded?
June
“Land of the Lost” – After clunkers like “Semi-Pro” and “Step Brothers,” I think it’s safe to say that the Will Ferrell comedy wagon has hit a speed bump. I may be alone in this, but other than 2006’s “Stranger Than Fiction,” I don’t think he’s given a great comedic performance since his uncredited appearance in “Wedding Crashers.” What used to be funny has now become musty and played-out, so I would like to think that a big-screen adaptation of a vintage television show is just what he needs to get him out of the funk. Oh wait, didn’t he already try that with “Bewitched?”
“The Taking of Pelham 1 2 3” – Apparently, John Travolta is starring opposite Denzel Washington in this Tony Scott-directed story of a hijacked NYC subway train. I’m just as surprised as you are, because I could’ve sworn that Travolta’s acting career ended following 2000’s “Battlefield Earth.” Maybe I was mistaken.
“Year One” – Jack Black and Michael Cera team up in this biblical era farce as two losers who find themselves banished from their village and forced to embark on an epic journey through the ancient world. It’s directed by Harold Ramis and produced by Judd Apatow, so expect the antics to be crude, outrageous and ultimately hit-or-miss.
“Transformers: Revenge of the Fallen” – I think I’m one of the only people in existence who hasn’t yet sat down to watch the first “Transformers” flick, so there’s not much I can say except “Hooray for Michael Bay!” Or not.
July
“Public Enemies” – Michael Mann’s last picture was the flaccid “Miami Vice” in which Colin Farrell and Jamie Foxx appeared lost in search of a better, more fully realized reason for exhausting so much energy (other than Gong Li). Somehow, I don’t think Johnny Depp and Christian Bale will have that problem, because they both appear to give performances worthy of further discussion. Mann is at his best when tackling stories of suave criminality and the legend of John Dillinger sounds like just the ticket for his return to form.
“Bruno” – Sacha Baron Cohen is out once again to make his case as the most fearless comedian working today and I think he may achieve that status hands down. As Austrian fashionista Bruno, he humiliates presidential candidate Ron Paul, has an awkward run-in with Paula Abdul and attempts to join the Alabama National Guard. Oh the possibilities.
“Harry Potter and the Half-Blood Prince” – Hopefully, the delay wasn’t a sign of things to come, because this has the potential to be the biggest smash of the summer. When we last saw the boy wizard, he was grieving after the death of Sirius Black and starting to realize what he would have to become in order to stop an all-powerful being like Voldemort. I find the darkness to be the series’ invaluable attribute and can’t wait to see Radcliffe get medieval on those meddling Death Eaters.
“Funny People” – This has the potential to be either the best or worst movie of the season. Written and directed by Judd Apatow, this raunch-fest with a heart follows the career of two comedians who form a bond after one of them is diagnosed with a terminal illness. The casting of Adam Sandler, Seth Rogen and Leslie Mann is promising as usual, but the length may become an issue if the plot starts to sag à la “Knocked Up.”
August
“G.I. Joe: The Rise of Cobra” – Director Stephen Sommers brings a decent resumé (“The Mummy” and “Van Helsing”) with him to this live-action adaptation, but the eclectic collection of actors is what peaks my interest. Dennis Quaid, Channing Tatum, Sienna Miller, Joseph Gordon-Levitt and Christopher Eccleston are all poised to challenge “Transformers 2” for the title of “Best Movie Made From a 1980’s Cartoon.”
“Inglourious Basterds” – I’m really hoping that Quentin Tarantino’s first film since 2007’s “Death Proof” is as fiercely composed as the marketing campaign has made it out to be.
“Final Destination: Death Trip” – It’s the fourth installment of “Final Destination.” It’s in 3-D and directed by the same guy who brought us “Snakes on a Plane.” Oh joy.
“H2” - Rob Zombie’s “Halloween” was a grimy, sadistic piece of snuff that did nothing to make we want to endure a sequel, but nothing screams summer like a psychologically unhinged maniac looking to slice and dice his way to a paycheck.
Sound of the funky drummer - Public Enemy
May
“Star Trek” – Ever since his work on 1998’s “Armageddon,” J.J. Abrams has been carving his own little niche in the Sci-Fi genre and early reviews of this series reboot suggest a vivacious concoction of fanboy rapture that only he could manufacture. I recall seeing the teaser prior to the Abrams-produced “Cloverfield” and not thinking much of it, so here’s hoping that the overall presentation will be accessible to those who can’t rattle off the life story of every character to grace the Starship Enterprise.
“Angels and Demons” – I don’t think I’m alone in saying that 2006’s “The Da Vinci Code” left something to be desired. The dialogue, pacing and pseudo-chemistry between Tom Hanks and Audrey Tautou just didn’t live up to expectations and director Ron Howard appeared to be sleepwalking his way to the payoff. Howard has proven on numerous occasions to be a superb filmmaker, but other than “Apollo 13,” summer blockbusters just aren’t his thing. Although I’ve been told that this prequel is the superior novel of the two, I still find myself hesitant to expect something truly remarkable.
“Terminator Salvation” – I know it’s just innocent conjecture, but rumor has it that Christian Bale’s performance as John Connor doesn’t bring much to the table in terms of palpable substance. If that’s indeed the case, my interest in this film is evaporating quicker than when I first heard that glorified noisemaker McG was going to assume directorial duties. The desire by Hollywood to continuously re-hash old favorites ran out of steam years ago and I refuse to accept that this is the best they have to offer.
“Night at the Museum: Battle of the Smithsonian” – Say what you will about the first installment, but I actually enjoyed it and laughed often enough to justify the ticket price. I’m not expecting Ben Stiller to reach the same comedic heights that last year’s brilliant parody “Tropic Thunder,” but the addition of Amy Adams, Bill Hader (genius) and Jonah Hill to the cast should make it an event movie that both kids and parents can enjoy.
“Drag Me to Hell” – Judging from the trailer, director Sam Raimi appears to have livened up and returned to his B-movie roots with a macabre tale of a loan officer whose dream lifestyle is about to end on a nefarious note. His “Spider-Man” days were certainly successful, but there’s something very “Evil Dead”-esque about this film that has me counting down the days.
“Up” – Everyone has their favorite Pixar creation (“Ratatouille” would be mine) and I’m sure that within days of its release, the journey of a crotchety 78-year-old named Carl Fredricksen will find itself at the top of many Best of ’09 lists. Come to think of it, have the wizards at Pixar ever made a film that wasn’t universally lauded?
June
“Land of the Lost” – After clunkers like “Semi-Pro” and “Step Brothers,” I think it’s safe to say that the Will Ferrell comedy wagon has hit a speed bump. I may be alone in this, but other than 2006’s “Stranger Than Fiction,” I don’t think he’s given a great comedic performance since his uncredited appearance in “Wedding Crashers.” What used to be funny has now become musty and played-out, so I would like to think that a big-screen adaptation of a vintage television show is just what he needs to get him out of the funk. Oh wait, didn’t he already try that with “Bewitched?”
“The Taking of Pelham 1 2 3” – Apparently, John Travolta is starring opposite Denzel Washington in this Tony Scott-directed story of a hijacked NYC subway train. I’m just as surprised as you are, because I could’ve sworn that Travolta’s acting career ended following 2000’s “Battlefield Earth.” Maybe I was mistaken.
“Year One” – Jack Black and Michael Cera team up in this biblical era farce as two losers who find themselves banished from their village and forced to embark on an epic journey through the ancient world. It’s directed by Harold Ramis and produced by Judd Apatow, so expect the antics to be crude, outrageous and ultimately hit-or-miss.
“Transformers: Revenge of the Fallen” – I think I’m one of the only people in existence who hasn’t yet sat down to watch the first “Transformers” flick, so there’s not much I can say except “Hooray for Michael Bay!” Or not.
July
“Public Enemies” – Michael Mann’s last picture was the flaccid “Miami Vice” in which Colin Farrell and Jamie Foxx appeared lost in search of a better, more fully realized reason for exhausting so much energy (other than Gong Li). Somehow, I don’t think Johnny Depp and Christian Bale will have that problem, because they both appear to give performances worthy of further discussion. Mann is at his best when tackling stories of suave criminality and the legend of John Dillinger sounds like just the ticket for his return to form.
“Bruno” – Sacha Baron Cohen is out once again to make his case as the most fearless comedian working today and I think he may achieve that status hands down. As Austrian fashionista Bruno, he humiliates presidential candidate Ron Paul, has an awkward run-in with Paula Abdul and attempts to join the Alabama National Guard. Oh the possibilities.
“Harry Potter and the Half-Blood Prince” – Hopefully, the delay wasn’t a sign of things to come, because this has the potential to be the biggest smash of the summer. When we last saw the boy wizard, he was grieving after the death of Sirius Black and starting to realize what he would have to become in order to stop an all-powerful being like Voldemort. I find the darkness to be the series’ invaluable attribute and can’t wait to see Radcliffe get medieval on those meddling Death Eaters.
“Funny People” – This has the potential to be either the best or worst movie of the season. Written and directed by Judd Apatow, this raunch-fest with a heart follows the career of two comedians who form a bond after one of them is diagnosed with a terminal illness. The casting of Adam Sandler, Seth Rogen and Leslie Mann is promising as usual, but the length may become an issue if the plot starts to sag à la “Knocked Up.”
August
“G.I. Joe: The Rise of Cobra” – Director Stephen Sommers brings a decent resumé (“The Mummy” and “Van Helsing”) with him to this live-action adaptation, but the eclectic collection of actors is what peaks my interest. Dennis Quaid, Channing Tatum, Sienna Miller, Joseph Gordon-Levitt and Christopher Eccleston are all poised to challenge “Transformers 2” for the title of “Best Movie Made From a 1980’s Cartoon.”
“Inglourious Basterds” – I’m really hoping that Quentin Tarantino’s first film since 2007’s “Death Proof” is as fiercely composed as the marketing campaign has made it out to be.
“Final Destination: Death Trip” – It’s the fourth installment of “Final Destination.” It’s in 3-D and directed by the same guy who brought us “Snakes on a Plane.” Oh joy.
“H2” - Rob Zombie’s “Halloween” was a grimy, sadistic piece of snuff that did nothing to make we want to endure a sequel, but nothing screams summer like a psychologically unhinged maniac looking to slice and dice his way to a paycheck.
Wednesday, April 29, 2009
The Great Buck Howard and Tyson
Only an actor as quirky and idiosyncratic as John Malkovich could’ve tackled a character like “The Great Buck Howard.” His insistence on capturing every annoying, arrogant and overbearing attribute of this once-heralded mentalist is what keeps the film from becoming just another glimpse into how some former stars fade not-so-gracefully into obscurity. I doubt the Academy will take notice, but through the first four months of 2009, Malkovich has turned in what I think is among the top two performances of the year (Joaquin Phoenix in “Two Lovers” being the other).
Produced by Tom Hanks, “Howard” follows the dwindling career of Buck Howard, an aging mentalist who once performed more than 60 times on “The Tonight Show with Johnny Carson” only to find himself playing to half-full community centers following the coronation of Jay Leno as the new late-night mainstay.
Everyone around him knows that the gig is up and the whole act has become one pathetic ode to a time when the lights were just a little bit brighter. We get the sense that Buck knows his 15 minutes have come and passed yet he still charges on with all the brio and profanity you’d expect from a Hollywood prima donna.
When he hires an assistant played by Colin Hanks, their relationship is torrid from the start as Buck’s demands reach intolerable levels and Hanks does his best to keep up with Malkovich’s razor-sharp comedic timing.
As Tom Hanks’s son, the expectations are certainly high and Colin doesn’t falter under the pressure.
He’s likeable enough to make us believe that a kid like that would go to law school and later have the guts to tell his parents he dropped out to become a writer.
After months of pretending to support Buck’s desire for resurgence, he finally gets a break in the form of a publicist played by the wonderful Emily Blunt. From the moment Blunt appears, the story gets a much-needed boost in terms of holding the audience’s attention and the quality of Buck’s stage show is finally solidified.
While watching his act, we actually begin to understand how he was once the most sought-after mentalist around, because his tricks are perfectly executed. His most famous feat involves having his payment hidden somewhere in the audience and then finding it without the assistance of any sound or video equipment. Every night he does the trick and every night he finds the money, so for a while he appears to be back on the road to riches after all.
This is by no means a mainstream movie, so don’t be upset when you find out that the laughs don’t come as often as you’d like. Malkovich thrives on the sexual ambiguity of the character and doesn’t really care if people find him difficult to deal with. The public loves a comeback story and despite Buck’s prickly persona, he’s still a guy worth rooting for.
- *** ½ out of 4
You’ve seen the carnage, read about the decadence and heard the profanity-laced tirades, but how well do you really know former heavyweight champion of the world Mike Tyson? In the new documentary “Tyson,” director James Toback hopes to enhance your familiarity with the “baddest man on the planet” by portraying him as a sympathetic figure born and bred on the hardened streets of Brooklyn. Tyson employs a Gorbachev-esque style of transparency when telling the camera about the criminality and sexual conquests that got him to where he is today and his honesty is what makes this film worthy of your attention.
As he rattles on about everything from childhood to Evander Holyfield, the whole thing takes on a kind of confessional quality in which Tyson bares his inner most soul for all to see. Instead of an animalistic archetype, he becomes a multifaceted human being capable of acknowledging his mistakes and praying for forgiveness, which those around him view as a vast improvement from his younger days.
Does Toback condone or downplay the seriousness of Tyson’s behavior? No, but the nature of their relationship implies a degree of respect for a man who has always done things his own way regardless of the consequences. His actions in the ring are just as fascinating as his actions outside of it, so prepare to hear the story directly from the teary-eyed source himself.
Is it guaranteed to change your opinion? Of course not, but it surely influenced mine.
- *** ½ out of 4
Produced by Tom Hanks, “Howard” follows the dwindling career of Buck Howard, an aging mentalist who once performed more than 60 times on “The Tonight Show with Johnny Carson” only to find himself playing to half-full community centers following the coronation of Jay Leno as the new late-night mainstay.
Everyone around him knows that the gig is up and the whole act has become one pathetic ode to a time when the lights were just a little bit brighter. We get the sense that Buck knows his 15 minutes have come and passed yet he still charges on with all the brio and profanity you’d expect from a Hollywood prima donna.
When he hires an assistant played by Colin Hanks, their relationship is torrid from the start as Buck’s demands reach intolerable levels and Hanks does his best to keep up with Malkovich’s razor-sharp comedic timing.
As Tom Hanks’s son, the expectations are certainly high and Colin doesn’t falter under the pressure.
He’s likeable enough to make us believe that a kid like that would go to law school and later have the guts to tell his parents he dropped out to become a writer.
After months of pretending to support Buck’s desire for resurgence, he finally gets a break in the form of a publicist played by the wonderful Emily Blunt. From the moment Blunt appears, the story gets a much-needed boost in terms of holding the audience’s attention and the quality of Buck’s stage show is finally solidified.
While watching his act, we actually begin to understand how he was once the most sought-after mentalist around, because his tricks are perfectly executed. His most famous feat involves having his payment hidden somewhere in the audience and then finding it without the assistance of any sound or video equipment. Every night he does the trick and every night he finds the money, so for a while he appears to be back on the road to riches after all.
This is by no means a mainstream movie, so don’t be upset when you find out that the laughs don’t come as often as you’d like. Malkovich thrives on the sexual ambiguity of the character and doesn’t really care if people find him difficult to deal with. The public loves a comeback story and despite Buck’s prickly persona, he’s still a guy worth rooting for.
- *** ½ out of 4
You’ve seen the carnage, read about the decadence and heard the profanity-laced tirades, but how well do you really know former heavyweight champion of the world Mike Tyson? In the new documentary “Tyson,” director James Toback hopes to enhance your familiarity with the “baddest man on the planet” by portraying him as a sympathetic figure born and bred on the hardened streets of Brooklyn. Tyson employs a Gorbachev-esque style of transparency when telling the camera about the criminality and sexual conquests that got him to where he is today and his honesty is what makes this film worthy of your attention.
As he rattles on about everything from childhood to Evander Holyfield, the whole thing takes on a kind of confessional quality in which Tyson bares his inner most soul for all to see. Instead of an animalistic archetype, he becomes a multifaceted human being capable of acknowledging his mistakes and praying for forgiveness, which those around him view as a vast improvement from his younger days.
Does Toback condone or downplay the seriousness of Tyson’s behavior? No, but the nature of their relationship implies a degree of respect for a man who has always done things his own way regardless of the consequences. His actions in the ring are just as fascinating as his actions outside of it, so prepare to hear the story directly from the teary-eyed source himself.
Is it guaranteed to change your opinion? Of course not, but it surely influenced mine.
- *** ½ out of 4
Tuesday, April 14, 2009
Record Theatre: Still kicking more than 30 years later
It’s 1976. President Gerald Ford is nearing the end of his first and only term, the face-melting wallop of “Frampton Comes Alive” can be heard blaring from stereos all across America and an independent venture known as Record Theatre first opens its doors to the people of Western New York.
In today’s technological market, it’s hard to imagine a record store playing such a vital role in the community, but at that moment in time, the shop served as a link between fans and the recording artists they loved.
Billed as “the biggest music store on Earth” with nearly 25,000-square-feet, it was able to single-handedly change the way music was brought to the masses in Buffalo.
“What I liked about Record Theatre was that they had stock imports from Canada and tons of local music,” says former employee Christine K. “It used to be the place to go for new releases, Saturday morning specials and even imports.”
Although its original location was at the corner of Main and Lafayette in Downtown Buffalo, it soon expanded to six locations scattered between Hamburg and North Tonawanda. The ‘70s and ‘80s proved to be an extremely profitable era for the store and many fans find that success to be a direct representation of the quality of music during that period.
“You’d pour over the lyrics back then looking to find insight as to what Jackson Browne was thinking when he wrote 'The Pretender' or what exactly 'the pompetus of love' was anyway,” says long-time music fan Ruth Eger. “I’m much too old for today’s music.”
Eger’s fervent reminiscence of the time is echoed by Record Theatre’s current Head Buyer Brandon Delmont, who has gotten an up close and personal view of just how drastically the industry has changed through the years.
“Nowadays, it’s become super fast to either plug your friend’s iPod into your computer and take all of their songs, or go to a blog and download a file,” says Delmont. “Within minutes, you have an artist’s entire catalog and it’s free. I really think that this has been the reason for the decline in sales.”
Delmont’s dismay with the present situation is evident in his tone as he goes on and on about how little specialized knowledge people have about the music they listen to, as well as how the Internet has altered the way most business is conducted.
While the onset of iTunes and other digital programs has signaled the end for some record stores, Record Theatre has decided to roll with the changes.
“As far as the Internet goes, it has been a way to connect with people that do not want to come into the store,” Delmont adds. “We have an e-mail list that we can run special coupons and promote certain artists/events directly to people that do enjoy the physical product.”
When it comes to online sales, Delmont leaves no area uncovered.
“We have a division that sells products on Amazon, EBay and half.com. Where we once had to depend on people to come to us, now we can get to them online. Now, with out-of-print and rare products we can make good money.”
His optimism about the future is a rarity among the record store community, but he firmly believes that the personal touch and camaraderie of the in-store atmosphere can’t be duplicated by any other format.
“Guys like me that studied music are the ones that end up with the knowledge to work in a store like ours,” he jubilantly declares. “I try to pass that attitude to the younger people that we hire, because they don’t necessarily have to be encyclopedias. They just need to retain information and help customers find what they need.”
Those familiar with Nick Hornby’s 1995 novel “High Fidelity” can probably relate to what Delmont is saying and Record Theatre even features a quote from the book on their web site. To those who haven’t read the book, it centers on a record store owner and how his obsession with music ends up influencing everything in his daily life.
“The customers, employees and artists sharing knowledge and tastes with each other, that’s where the community of a record store really works” says Delmont.
Despite having only three locations left, Record Theatre doesn’t plan on going away anytime soon. No matter how things play out with the industry, it's determined to continue getting music to the public in the most efficient manner possible.
To celebrate Record Store Day on April 18, Delmont urged people to come out to support the independent scene and celebrate the art of music while indulging in live performances from some of the area’s finest local bands and, as usual, they delivered the goods.
“At the end of the day, people will always want to go to a physical store because we have a basic need to be social and want to do something with our time. I love getting away from everything and hunting down records, it’s a great waste of time!"
In today’s technological market, it’s hard to imagine a record store playing such a vital role in the community, but at that moment in time, the shop served as a link between fans and the recording artists they loved.
Billed as “the biggest music store on Earth” with nearly 25,000-square-feet, it was able to single-handedly change the way music was brought to the masses in Buffalo.
“What I liked about Record Theatre was that they had stock imports from Canada and tons of local music,” says former employee Christine K. “It used to be the place to go for new releases, Saturday morning specials and even imports.”
Although its original location was at the corner of Main and Lafayette in Downtown Buffalo, it soon expanded to six locations scattered between Hamburg and North Tonawanda. The ‘70s and ‘80s proved to be an extremely profitable era for the store and many fans find that success to be a direct representation of the quality of music during that period.
“You’d pour over the lyrics back then looking to find insight as to what Jackson Browne was thinking when he wrote 'The Pretender' or what exactly 'the pompetus of love' was anyway,” says long-time music fan Ruth Eger. “I’m much too old for today’s music.”
Eger’s fervent reminiscence of the time is echoed by Record Theatre’s current Head Buyer Brandon Delmont, who has gotten an up close and personal view of just how drastically the industry has changed through the years.
“Nowadays, it’s become super fast to either plug your friend’s iPod into your computer and take all of their songs, or go to a blog and download a file,” says Delmont. “Within minutes, you have an artist’s entire catalog and it’s free. I really think that this has been the reason for the decline in sales.”
Delmont’s dismay with the present situation is evident in his tone as he goes on and on about how little specialized knowledge people have about the music they listen to, as well as how the Internet has altered the way most business is conducted.
While the onset of iTunes and other digital programs has signaled the end for some record stores, Record Theatre has decided to roll with the changes.
“As far as the Internet goes, it has been a way to connect with people that do not want to come into the store,” Delmont adds. “We have an e-mail list that we can run special coupons and promote certain artists/events directly to people that do enjoy the physical product.”
When it comes to online sales, Delmont leaves no area uncovered.
“We have a division that sells products on Amazon, EBay and half.com. Where we once had to depend on people to come to us, now we can get to them online. Now, with out-of-print and rare products we can make good money.”
His optimism about the future is a rarity among the record store community, but he firmly believes that the personal touch and camaraderie of the in-store atmosphere can’t be duplicated by any other format.
“Guys like me that studied music are the ones that end up with the knowledge to work in a store like ours,” he jubilantly declares. “I try to pass that attitude to the younger people that we hire, because they don’t necessarily have to be encyclopedias. They just need to retain information and help customers find what they need.”
Those familiar with Nick Hornby’s 1995 novel “High Fidelity” can probably relate to what Delmont is saying and Record Theatre even features a quote from the book on their web site. To those who haven’t read the book, it centers on a record store owner and how his obsession with music ends up influencing everything in his daily life.
“The customers, employees and artists sharing knowledge and tastes with each other, that’s where the community of a record store really works” says Delmont.
Despite having only three locations left, Record Theatre doesn’t plan on going away anytime soon. No matter how things play out with the industry, it's determined to continue getting music to the public in the most efficient manner possible.
To celebrate Record Store Day on April 18, Delmont urged people to come out to support the independent scene and celebrate the art of music while indulging in live performances from some of the area’s finest local bands and, as usual, they delivered the goods.
“At the end of the day, people will always want to go to a physical store because we have a basic need to be social and want to do something with our time. I love getting away from everything and hunting down records, it’s a great waste of time!"
Thursday, April 2, 2009
Is the album dead?
If you were shown a list of the ten best selling albums of 2008, how many of them would actually be a part of your own personal collection? How many would you honestly admit to having an intimate, well-rounded knowledge of?
Those of you scrambling to recall even one of the potential titles, you’re not alone.
Nielsen SoundScan reports that 2008’s top ten artists sold more than 40 million fewer albums than the top ten of 2000 and the decline doesn’t appear to be ending any time soon.
Apparently, consumers don’t find Lil Wayne, Taylor Swift and Kid Rock to be overly deserving of their time and money.
“In my opinion, the main reason for dwindling album sales is file sharing. All it takes
is for one guy in his dorm to find the new Peter, Bjorn & John and e-mail it to all of his friends weeks before the actual release date” says Brandon Delmont, head buyer for Record Theatre. “What could have been 50 sales of the album turns into zero sales at the record shop.”
The onset of programs such as iTunes and LimeWire tends to support Delmont’s popular assertion, but a closer look reveals something very different indeed. Consider the aforementioned Swift and Kid Rock.
To fans, they represent the pinnacle of American music at this point in time, but to outsiders they’re nothing more than glorified karaoke hounds that produce skin-deep pop songs aimed at hijacking a piece of your wallet.
“It’s so hard to find good bands these days” says college freshman Ben Thuman. “If people actually listen to and buy this crap, nothing within the system will ever change.”
Thuman’s passionate reflection is just a microcosm of what is happening in today’s market. For evidence of how differently some artists approach the business, look no further than Pearl Jam frontman Eddie Vedder and pop sensations The Jonas Brothers.
When Vedder composed the soundtrack for Sean Penn’s “Into the Wild,” he was driven by a strong dedication to the craft and ended up with an album that Rolling Stone writer David Fricke called “tracks that temper the romance of absolute freedom with an eerie foreboding.”
When The Jonas Brothers compose an album, they’re catering to an entirely different demographic and therefore aim to create catchy tunes that will make more money in the short-term.
Whatever people think of today’s pop artists, their commercial status hints at the ongoing shift from producing complex albums to simply making radio-friendly singles that fans can download in 30 seconds flat.
“Long gone are the days of bringing home an album with thought-provoking lyrics on a sheet of glossy paper tucked inside the jacket” says long-time fan Ruth Eger, when expressing her dismay with the current musical climate. “I remember when pop/rock/soul music had edgy lyrics and an instrumental bridge that everyone would be humming in the car.”
Eger isn’t the only one who sees a problem with today’s scene. Thuman also longs for a return to the days of great drumming and virtuoso guitar work.
“You really have to look hard for bands that are capable of making music that involves talent and originality” he says. “Most of them are more interested in making money than making good music and it’s a rip-off.”
Although the negativity abounds, Delmont doesn’t feel that mainstream music has dropped off all that much.
“I think it’s always sort of sucked. I can remember a gentleman in college that was in his 30s at the time and I would tell him how great the Beatles were. He said he never listened to them, because they were too “bubblegum” back then” says Delmont. “You’re always going to find great art, music and literature on the edges of society. You just have to look for it.”
Those of you scrambling to recall even one of the potential titles, you’re not alone.
Nielsen SoundScan reports that 2008’s top ten artists sold more than 40 million fewer albums than the top ten of 2000 and the decline doesn’t appear to be ending any time soon.
Apparently, consumers don’t find Lil Wayne, Taylor Swift and Kid Rock to be overly deserving of their time and money.
“In my opinion, the main reason for dwindling album sales is file sharing. All it takes
is for one guy in his dorm to find the new Peter, Bjorn & John and e-mail it to all of his friends weeks before the actual release date” says Brandon Delmont, head buyer for Record Theatre. “What could have been 50 sales of the album turns into zero sales at the record shop.”
The onset of programs such as iTunes and LimeWire tends to support Delmont’s popular assertion, but a closer look reveals something very different indeed. Consider the aforementioned Swift and Kid Rock.
To fans, they represent the pinnacle of American music at this point in time, but to outsiders they’re nothing more than glorified karaoke hounds that produce skin-deep pop songs aimed at hijacking a piece of your wallet.
“It’s so hard to find good bands these days” says college freshman Ben Thuman. “If people actually listen to and buy this crap, nothing within the system will ever change.”
Thuman’s passionate reflection is just a microcosm of what is happening in today’s market. For evidence of how differently some artists approach the business, look no further than Pearl Jam frontman Eddie Vedder and pop sensations The Jonas Brothers.
When Vedder composed the soundtrack for Sean Penn’s “Into the Wild,” he was driven by a strong dedication to the craft and ended up with an album that Rolling Stone writer David Fricke called “tracks that temper the romance of absolute freedom with an eerie foreboding.”
When The Jonas Brothers compose an album, they’re catering to an entirely different demographic and therefore aim to create catchy tunes that will make more money in the short-term.
Whatever people think of today’s pop artists, their commercial status hints at the ongoing shift from producing complex albums to simply making radio-friendly singles that fans can download in 30 seconds flat.
“Long gone are the days of bringing home an album with thought-provoking lyrics on a sheet of glossy paper tucked inside the jacket” says long-time fan Ruth Eger, when expressing her dismay with the current musical climate. “I remember when pop/rock/soul music had edgy lyrics and an instrumental bridge that everyone would be humming in the car.”
Eger isn’t the only one who sees a problem with today’s scene. Thuman also longs for a return to the days of great drumming and virtuoso guitar work.
“You really have to look hard for bands that are capable of making music that involves talent and originality” he says. “Most of them are more interested in making money than making good music and it’s a rip-off.”
Although the negativity abounds, Delmont doesn’t feel that mainstream music has dropped off all that much.
“I think it’s always sort of sucked. I can remember a gentleman in college that was in his 30s at the time and I would tell him how great the Beatles were. He said he never listened to them, because they were too “bubblegum” back then” says Delmont. “You’re always going to find great art, music and literature on the edges of society. You just have to look for it.”
Thursday, March 19, 2009
Lewiston Kiwanis Peach Festival
For 52 years, the Lewiston Kiwanis Peach Festival has offered residents and tourists alike the opportunity to indulge in some good old-fashioned fun, food and camaraderie toward the end of the summer season. Whether it’s playing games in the midway, listening to live music or simply basking in the local scenery, the event caters to people of all ages who are looking to take advantage of everything this area has to offer.
“We’ve been fortunate to add events through the years to make the festival bigger and involve more people and families. It’s grown to be a spectacular event,” says Festival Chairman Jerry Wolfgang, when discussing how popular the occasion has become since its inception. “We’ve always maintained over the years that this is for families.”
Wolfgang’s emphasis on family is cemented by the absence of a beer tent which, for many festivals, would mean a major hit to overall revenue, but Wolfgang isn’t worried. He points out that the Kiwanis Club alone uses “13,000 pounds of fruit to make the peach shortcake” and that the coveted dessert has a reputation for selling out rather quickly, so the fundraising efforts should be just fine throughout the three-day period.
In the past, the question of venue has come up among concerned members of the community, but this year the inquiries were laid to rest early.
At their Feb. 17 meeting, The Village of Lewiston Board of Trustees passed a motion to allow the Kiwanis Club to once again hold the event at Academy Park, which many residents feel is the best fit.
“Having it at the plateau was too congested and drew too many complaints,” says Trustee Michael Marra, referring to one of the festival’s prior locations. “Things such as facility contracts and other insurance issues can be complicated, so Academy Park seems to be the most accommodating.”
Trustee William Geiben also supports the use of Academy Park, saying that local businesses “wouldn’t be able to survive without festivals and spending from visitors,” so it’s important to create a situation where both attendees and vendors can view the festival as a success.
Although the festival has evolved, Geiben also says it’s important to remember that its original purpose was to support the farmers by promoting their annual peach crop. With vendors poised to go through 13,000 pounds of peaches, the initial intention remains firmly in tact.
Time: Friday Sept. 11 (5 p.m. – 11 p.m.)
Saturday Sept. 12 (11 a.m. - 11 p.m.)
Sunday Sept. 13 (11 a.m. – 10 p.m.)
Admission: Free
“We’ve been fortunate to add events through the years to make the festival bigger and involve more people and families. It’s grown to be a spectacular event,” says Festival Chairman Jerry Wolfgang, when discussing how popular the occasion has become since its inception. “We’ve always maintained over the years that this is for families.”
Wolfgang’s emphasis on family is cemented by the absence of a beer tent which, for many festivals, would mean a major hit to overall revenue, but Wolfgang isn’t worried. He points out that the Kiwanis Club alone uses “13,000 pounds of fruit to make the peach shortcake” and that the coveted dessert has a reputation for selling out rather quickly, so the fundraising efforts should be just fine throughout the three-day period.
In the past, the question of venue has come up among concerned members of the community, but this year the inquiries were laid to rest early.
At their Feb. 17 meeting, The Village of Lewiston Board of Trustees passed a motion to allow the Kiwanis Club to once again hold the event at Academy Park, which many residents feel is the best fit.
“Having it at the plateau was too congested and drew too many complaints,” says Trustee Michael Marra, referring to one of the festival’s prior locations. “Things such as facility contracts and other insurance issues can be complicated, so Academy Park seems to be the most accommodating.”
Trustee William Geiben also supports the use of Academy Park, saying that local businesses “wouldn’t be able to survive without festivals and spending from visitors,” so it’s important to create a situation where both attendees and vendors can view the festival as a success.
Although the festival has evolved, Geiben also says it’s important to remember that its original purpose was to support the farmers by promoting their annual peach crop. With vendors poised to go through 13,000 pounds of peaches, the initial intention remains firmly in tact.
Time: Friday Sept. 11 (5 p.m. – 11 p.m.)
Saturday Sept. 12 (11 a.m. - 11 p.m.)
Sunday Sept. 13 (11 a.m. – 10 p.m.)
Admission: Free
Wednesday, March 18, 2009
The Last House on the Left
With a piece of cringe-inducing torture porn such as "The Last House on the Left," you know exactly what you're getting. F-bombs will drop, grass will be smoked and people will be offed in the most grotesque fashion imaginable. That said, the result of this latest horror reimagining is surprisingly effective to the point that Wes Craven's 1972 original looks almost tame in comparison.
What I found interesting about the new film is that its tone is 180 degrees different than what Craven was going for. His work had an absurd sense of Manson-esque anarchy that made you unsure whether or not the obvious comedic elements should be laughed at, but the insanity here leaves no time for antics. When these girls embark on their boneheaded ganja quest, director Dennis Iliadis wastes no time testing the audience's tolerance for moral turpitude.
Those familiar with the original know what happens next, so I'll spare you the grimy details. The bottom line is that if you have the stomach for it, it's actually a pretty well-made, albeit disturbing addition to the genre.
- ** 1/2 out of 4 - It would've been 3, but that final scene was completely superfluous.
What I found interesting about the new film is that its tone is 180 degrees different than what Craven was going for. His work had an absurd sense of Manson-esque anarchy that made you unsure whether or not the obvious comedic elements should be laughed at, but the insanity here leaves no time for antics. When these girls embark on their boneheaded ganja quest, director Dennis Iliadis wastes no time testing the audience's tolerance for moral turpitude.
Those familiar with the original know what happens next, so I'll spare you the grimy details. The bottom line is that if you have the stomach for it, it's actually a pretty well-made, albeit disturbing addition to the genre.
- ** 1/2 out of 4 - It would've been 3, but that final scene was completely superfluous.
Subscribe to:
Posts (Atom)