Ah, the wonders of Crue Fest.
10 Bands, two stages and 20,000 partially inebriated metalheads chomping at the bit to experience what are supposed to be today's finest hard rock ensembles.
Seriously, what could be better than seven hours of balls-to-the-wall distortion and predictably morose lyricisms?
Well, if the crowd at Darien Lake on Saturday meant anything, there aren't too many things ambitious enough to fit that bill. The vibe was raucous from the onset and people were anxious to get down to business. Keep in mind that a festival atmosphere enables you to pick and choose which bands are deserving of your attention, so not only do you get music, but you also end up purging calories running back and forth between each stage.
This must be what Quiet Riot had in mind when they wrote "Metal Health," but I could be wrong.
Due to scheduling, I was only able to catch seven bands on the bill and,sadly, not all of them performed at the same level of ferocity. Some rocked, some shocked and some were just glad to be out of the house.
Rather than compose a traditional review, I decided to go through the bands one by one and give you a snapshot of what they're all about.
Here it goes:
Charm City Devils - I arrived just as they were jumping into their last two numbers, so I can't really offer too much detail. However, I heard enough to know that overly-simplistic arrangements and cheese-filled choruses can only get you so far before people start clamoring for the exit.
16 Second Stare - Deafening riffs, plentiful F-bombs and Atreyu-esque throat contortions sum-up this portion of the program, but a lot of fans seem to enjoy that sort of thing. Comedian George Carlin once wonderedwhat a wolverine would sound like on PCP, so maybe that gives you an idea of what this band focused on.
Drowning Pool - The bodies were literally hitting the floor during their signature track, so it was pretty cool seeing how far the audience would take the mayhem. Although the rest of the set droned on at times, they still kicked it pretty hard when necessary.
Theory of a Deadman - As someone who likes this band a great deal, I was disappointed with their lackluster showing on Saturday. Frontman Tyler Connolly's voice sounded way too coarse and high-pitched during songs like"Bad Girlfriend" and "So Happy," which threw off the entire feeling usually conveyed through their music. Maybe it was the sound system or maybe it was the fact that they'd been on tour for three months, but something was definitely off.
Rev Theory - This explosive five-piece stole the show behind searing vocals from Rich Luzzi, because they actually emitted an aura of appreciation. They embraced the crowd, they sounded fantastic and they left every ounce of energy on the stage behind them. Given that they had such a small window with which to work, I can only imagine what they would do as a headliner.
Godsmack - Let me preface this by saying that I like Godsmack. I really do, but it's hard to envision this band's existence without taking into account everything Alice in Chains did during the early 1990s. The mystical vocal range, the depressing thematic range and the love affair with Drop-D are all reminiscent of Staley and Cantrell's metallic brilliance, so keep that in mind every time you listen.
As for their set, it was filled with the usual hits like "Awake," "Keep Away" and "Voodoo," but Sully Erna was a little too standoffish to make the performance seem like anything other than a routine procedure. He kept inciting the crowd to get crazy by hurling cups of beer and getting upset when they didn't catch them, so I guess there's just no pleasing some people. Musically, they sounded great, but the overall stage presence just wasn't up to par.
Motley Crue - Nearly 30 years into their career, the bad boys of the Sunset Strip are still kicking out the jams. Vince Neil, Nikki Sixx, Mick Mars and Tommy Lee can always be counted on for a party and their double set to close out the festival was certainly an energetic endeavor. The Dr. Feelgood album was performed in its entirety followed by a mixture of old and new hits that kept people wanting more which, to the haters, couldn't have been a good sign.
Tuesday, September 15, 2009
Friday, August 28, 2009
End of the Summer Film Frenzy
A time will come in every person’s life when they’re forced to look inward and discover just how concrete their ability to navigate through tough times really is. For the haughty, well-to-do siblings in Olivier Assayas’s gorgeous new film “Summer Hours,” that time proves to be testier than expected when their 75-year-old mother dies, leaving them to quarrel over a collection of priceless artifacts she leaves behind. To call it a sibling rivalry would imply that they all feel entitled to a piece of the pie, but that’s simply not the case here.
Two of them are eager to let go of the past and allow the pieces to go their separate ways, but one isn’t quite ready to relinquish a life he once cherished. Watching them sort through the debris, both physical and emotional, is heartwarming to the core and something I have more than a modicum of experience with.
Beautifully shot, debonair in its production and boasting eloquent work from Juliette Binoche, Charles Berling and Jérémie Renier, I suggest you seek it out and revel in its sheer majesty.
- **** out of 4
It’s been referred to as Judd Apatow’s “death movie,” his unconcealed attempt at meriting the respect of Hollywood’s elite as well as devout film scholars who find his brand of cinema to be less than artful. Sure, the fragility of being is explored at times, but the reality of “Funny People” is one that defies such asinine prejudgment. The much-heralded comedic genius behind “Freaks and Geeks” and “The 40-Year-Old Virgin” has crafted an astute celebration of life through the cynical, self-loathing eyes of a millionaire actor who returns to his stand-up comedy roots after being diagnosed with a rare form of Leukemia.
For the first time in his career, Adam Sandler embodies a character that is undoubtedly a living, breathing grown-up and he knocks it out of the park. He makes George Simmons a well-rounded smart-ass who uses humor to avoid dealing with the harsh reality in which he finds himself, so when the occasion comes for him to finally open-up, the movie becomes much more than a raunchy battle of wits. The camaraderie he develops with up-and-comer Ira Wright (played brilliantly by Seth Rogen) makes for a sea of hysterical moments involving Judaism and dick jokes, which both seem to be synonymous with the Apatow brand.
As someone who was on the fence about Sandler’s dramatic potential, I can’t say enough about his performance here and would love to see the Academy reward him for the effort.
- *** ½ out of 4
Just when I thought J.J. Abrams had all but sealed the deal on Science Fiction for 2009, along comes British director Neill Blomkamp with a work so raw, so distinctive and so shocking that I won’t hesitate to call it an early candidate for my year-end column. His “District 9” is an ascetic window into a world overrun by soulless bureaucrats who can’t resist the opportunity for profit when aliens touch down over Johannesburg, South Africa. Not even a national crisis can keep the human thirst for dominion at bay, so the real-life parallels drawn here are sure to have audiences foaming at the mouth over the appalling display of power. The outlook is bleak, the creatures are the epitome of grotesque and the only chance for survival comes down to a shrill, pusillanimous company man who suddenly finds himself at the center of chaos.
Sharlto Copley gives one of the most riveting performances of the year as Wikus van de Merwe and deserves to have his name thrown around come award season. He’s cocky, irritating and downright moronic at the outset, but something happens during the second act that brings out the best in his character. Wikus goes from zero to hero and becomes a vulnerable, determined fugitive who discovers how disposable his existence really is. We feel his anguish and, despite prior intolerance, are with him until the bitter end.
Dystopian films such as “Children of Men” and “The Road” certainly come to mind, but the extraterrestrial presence adds a much crazier dimension to the narrative that sets it apart. Anytime a filmmaker is ballsy enough to introduce inter-species prostitution as a possible outlet for stress, I’m inclined to believe that we’ll never see anything remotely similar ever again. There’s something refreshing about a filmmaker who’s willing to obliterate all conventionality and I can only hope that future Sci-Fi pictures follow suit.
- **** out of 4
“Movies are so rarely great art that if we cannot appreciate great trash we have very little reason to be interested in them” – Pauline Kael
I quote the great Pauline Kael, because her words make me feel less irate over watching the latest “Fatal Attraction” facsimile “Obsessed,” starring Idris Elba, Beyonce Knowles and Ali Larter (stunning, as usual). The film tries to be sleek, sexy and every other provocative concept in the book, but how much tension can possibly be generated when the supposed affair is just a wicked hallucination drummed up out of loneliness? Can you get emotionally invested knowing that the two characters in question never actually had a relationship? I certainly wasn’t but, then again, I’m probably not the target audience for a film like this anyway.
- ** out of 4
“The Haunting in Connecticut” is supposedly based on true events, but I have difficulty believing that everything went down exactly the way it’s portrayed on screen. Sources have even come out since and stated that no paranormal activity has been reported in the house since the Snedeker family left, so who really knows for sure? I can say that the film is chilling enough in spots to make it passable and Virginia Madsen’s presence is always a welcomed sight.
-** ½ out of 4
I know it may be sacrilegious to say so, but Greg Mottola’s infinitely delightful ode to summer romance “Adventureland” is much better than his 2007 romp “Superbad.” He captures the sights and sounds of 1987 to a tee and hits just the right note when exploring a budding relationship between Jesse Eisenberg and Kristen Stewart. Upon seeing the trailer, I honestly didn’t care to give it a second look, but it’s one of those films that comes out of nowhere to steal your heart and I’d recommend it to anyone looking for a sweet little burst of nostalgia.
- **** out of 4 (Bill Hader and Kristen Wiig are stellar yet again)
Iron Maiden is often billed as “the biggest band in the world” and watching an endless array of metalheads from Mumbai wail the chorus to “Aces High” makes that sentiment quite difficult to dispute. Tack on concerts in Italy, Japan, Latvia, Costa Rica, Denmark, Croatia etc. and you get a semblance of what their captivating new documentary “Iron Maiden: Flight 666” is all about. They’re incredible on stage and the film gives you a behind-the-scenes view of their day-to-day operations while on tour, so if you’re a fan of the music, you’ll love every minute of it.
- **** out of 4
Two of them are eager to let go of the past and allow the pieces to go their separate ways, but one isn’t quite ready to relinquish a life he once cherished. Watching them sort through the debris, both physical and emotional, is heartwarming to the core and something I have more than a modicum of experience with.
Beautifully shot, debonair in its production and boasting eloquent work from Juliette Binoche, Charles Berling and Jérémie Renier, I suggest you seek it out and revel in its sheer majesty.
- **** out of 4
It’s been referred to as Judd Apatow’s “death movie,” his unconcealed attempt at meriting the respect of Hollywood’s elite as well as devout film scholars who find his brand of cinema to be less than artful. Sure, the fragility of being is explored at times, but the reality of “Funny People” is one that defies such asinine prejudgment. The much-heralded comedic genius behind “Freaks and Geeks” and “The 40-Year-Old Virgin” has crafted an astute celebration of life through the cynical, self-loathing eyes of a millionaire actor who returns to his stand-up comedy roots after being diagnosed with a rare form of Leukemia.
For the first time in his career, Adam Sandler embodies a character that is undoubtedly a living, breathing grown-up and he knocks it out of the park. He makes George Simmons a well-rounded smart-ass who uses humor to avoid dealing with the harsh reality in which he finds himself, so when the occasion comes for him to finally open-up, the movie becomes much more than a raunchy battle of wits. The camaraderie he develops with up-and-comer Ira Wright (played brilliantly by Seth Rogen) makes for a sea of hysterical moments involving Judaism and dick jokes, which both seem to be synonymous with the Apatow brand.
As someone who was on the fence about Sandler’s dramatic potential, I can’t say enough about his performance here and would love to see the Academy reward him for the effort.
- *** ½ out of 4
Just when I thought J.J. Abrams had all but sealed the deal on Science Fiction for 2009, along comes British director Neill Blomkamp with a work so raw, so distinctive and so shocking that I won’t hesitate to call it an early candidate for my year-end column. His “District 9” is an ascetic window into a world overrun by soulless bureaucrats who can’t resist the opportunity for profit when aliens touch down over Johannesburg, South Africa. Not even a national crisis can keep the human thirst for dominion at bay, so the real-life parallels drawn here are sure to have audiences foaming at the mouth over the appalling display of power. The outlook is bleak, the creatures are the epitome of grotesque and the only chance for survival comes down to a shrill, pusillanimous company man who suddenly finds himself at the center of chaos.
Sharlto Copley gives one of the most riveting performances of the year as Wikus van de Merwe and deserves to have his name thrown around come award season. He’s cocky, irritating and downright moronic at the outset, but something happens during the second act that brings out the best in his character. Wikus goes from zero to hero and becomes a vulnerable, determined fugitive who discovers how disposable his existence really is. We feel his anguish and, despite prior intolerance, are with him until the bitter end.
Dystopian films such as “Children of Men” and “The Road” certainly come to mind, but the extraterrestrial presence adds a much crazier dimension to the narrative that sets it apart. Anytime a filmmaker is ballsy enough to introduce inter-species prostitution as a possible outlet for stress, I’m inclined to believe that we’ll never see anything remotely similar ever again. There’s something refreshing about a filmmaker who’s willing to obliterate all conventionality and I can only hope that future Sci-Fi pictures follow suit.
- **** out of 4
“Movies are so rarely great art that if we cannot appreciate great trash we have very little reason to be interested in them” – Pauline Kael
I quote the great Pauline Kael, because her words make me feel less irate over watching the latest “Fatal Attraction” facsimile “Obsessed,” starring Idris Elba, Beyonce Knowles and Ali Larter (stunning, as usual). The film tries to be sleek, sexy and every other provocative concept in the book, but how much tension can possibly be generated when the supposed affair is just a wicked hallucination drummed up out of loneliness? Can you get emotionally invested knowing that the two characters in question never actually had a relationship? I certainly wasn’t but, then again, I’m probably not the target audience for a film like this anyway.
- ** out of 4
“The Haunting in Connecticut” is supposedly based on true events, but I have difficulty believing that everything went down exactly the way it’s portrayed on screen. Sources have even come out since and stated that no paranormal activity has been reported in the house since the Snedeker family left, so who really knows for sure? I can say that the film is chilling enough in spots to make it passable and Virginia Madsen’s presence is always a welcomed sight.
-** ½ out of 4
I know it may be sacrilegious to say so, but Greg Mottola’s infinitely delightful ode to summer romance “Adventureland” is much better than his 2007 romp “Superbad.” He captures the sights and sounds of 1987 to a tee and hits just the right note when exploring a budding relationship between Jesse Eisenberg and Kristen Stewart. Upon seeing the trailer, I honestly didn’t care to give it a second look, but it’s one of those films that comes out of nowhere to steal your heart and I’d recommend it to anyone looking for a sweet little burst of nostalgia.
- **** out of 4 (Bill Hader and Kristen Wiig are stellar yet again)
Iron Maiden is often billed as “the biggest band in the world” and watching an endless array of metalheads from Mumbai wail the chorus to “Aces High” makes that sentiment quite difficult to dispute. Tack on concerts in Italy, Japan, Latvia, Costa Rica, Denmark, Croatia etc. and you get a semblance of what their captivating new documentary “Iron Maiden: Flight 666” is all about. They’re incredible on stage and the film gives you a behind-the-scenes view of their day-to-day operations while on tour, so if you’re a fan of the music, you’ll love every minute of it.
- **** out of 4
The Charlie Daniels Band rocks the locks
The Molson Canal Concert Series was transformed into a good old-fashioned hoedown on Friday night as the attendees were treated to a rousing 90 minutes of Southern-fried rock courtesy of the Charlie Daniels Band. The heat was on, the drinks were cold and the vitality of Daniels’s fiddle playing was enough to entice music lovers to endure what felt like the most sweat-soaked evening of 2009. People may not have known the name of every song, but they sure knew the lyrics once the opening riff hit, so needless to say there was no shortage of audience participation.
At 72 years young, Daniels displays more zest on stage than I would expect and has the innate ability to turn any number into a riotous jam session whenever the mood strikes. Songs like “The South’s Gonna Do It” and “Long-haired Country Boy” showed tremendous bite as the band lost itself in the groove and even the lesser-known tunes were able to bring the crowd to a roaring applause. They could’ve come out and played a country-infused version of “The Nutcracker” and fans would’ve been into it, because the group was exceptionally tight and it’s not everyday that a legendary musician gives a free show in the unassuming city of Lockport.
Then again, it didn’t take much to rile this crowd, because first opener Ransomville delivered a commanding, well-received set that, to me, resembled more hard hock than country. Guitarists John Rosini and Rob Burgio (both former members of Seven Day Faith) each treat the instrument like their own personal playground and somehow find a way to make country music seem less predictable.
Their spirited take on Big and Rich’s “Save a Horse (Ride a Cowboy)” was impressive, while the original material worked even better than on the album. It might sound strange, but a few of their heavier tunes came off as a twangy Buckcherry at times, so I’m interested to see how they progress in the future.
Second opener Her and Kings County was just as lively as radiant vocalist Monique Staffile led the band through a series of whimsical party tunes that showcased how diverse the event really was. The combination of a unique stage presence and her dynamic vocal ability set the tone for an entertaining set featuring some killer work on both the banjo and steel pedal guitar.
As someone who doesn’t even like country music, I can’t deny the stellar array of musicianship offered by all three groups and wouldn’t mind if they wound up on next year’s schedule. It was the perfect alignment of music, ambiance and weather, so here’s hoping this Friday’s finale with Randy Bachman is up to the challenge.
At 72 years young, Daniels displays more zest on stage than I would expect and has the innate ability to turn any number into a riotous jam session whenever the mood strikes. Songs like “The South’s Gonna Do It” and “Long-haired Country Boy” showed tremendous bite as the band lost itself in the groove and even the lesser-known tunes were able to bring the crowd to a roaring applause. They could’ve come out and played a country-infused version of “The Nutcracker” and fans would’ve been into it, because the group was exceptionally tight and it’s not everyday that a legendary musician gives a free show in the unassuming city of Lockport.
Then again, it didn’t take much to rile this crowd, because first opener Ransomville delivered a commanding, well-received set that, to me, resembled more hard hock than country. Guitarists John Rosini and Rob Burgio (both former members of Seven Day Faith) each treat the instrument like their own personal playground and somehow find a way to make country music seem less predictable.
Their spirited take on Big and Rich’s “Save a Horse (Ride a Cowboy)” was impressive, while the original material worked even better than on the album. It might sound strange, but a few of their heavier tunes came off as a twangy Buckcherry at times, so I’m interested to see how they progress in the future.
Second opener Her and Kings County was just as lively as radiant vocalist Monique Staffile led the band through a series of whimsical party tunes that showcased how diverse the event really was. The combination of a unique stage presence and her dynamic vocal ability set the tone for an entertaining set featuring some killer work on both the banjo and steel pedal guitar.
As someone who doesn’t even like country music, I can’t deny the stellar array of musicianship offered by all three groups and wouldn’t mind if they wound up on next year’s schedule. It was the perfect alignment of music, ambiance and weather, so here’s hoping this Friday’s finale with Randy Bachman is up to the challenge.
Friday, August 14, 2009
A Tribute to John Hughes
I thought long and hard about how I wanted to do this, but what can really be said about writer/director John Hughes that hasn’t already been put forth? He was the impassioned voice of a generation, a pensive, level-headed auteur who brought the plight of the American teenager into the mainstream without all the sneering condescension. He shunned the “young and stupid” cliché by treating youths with the respect they deserved and rarely fashioned a script that didn’t contain a surplus of downcast yet quotable anecdotes reflecting the human condition. His characters were one-of-a-kind in their eccentricity which, to me, only makes his death more difficult to swallow, because we’ll never know what oddball creation he might have introduced next.
After all, we’re talking about the same guy who scoffed at authority in “Ferris Bueller’s Day Off,” tackled class differences with “Pretty in Pink” and made the phrase “neo-maxi-zoom-dweebie” part of the pop culture lexicon. Furthermore, I don’t think there’s a guy between the ages of 25 and 45 who doesn’t get excited just thinking about Kelly LeBrock standing in Wyatt’s doorway toward the beginning of “Weird Science,” so the impact Hughes had goes beyond mere entertainment value.
His success was the product of a Reagan-controlled universe in which kids either acquiesced to the corporate lifestyle or risked being called a “burnout” the rest of their life.
Some call it exploitation, but that implies a degree of mean-spiritedness on Hughes’s part that didn’t exist in the slightest. He simply constructed a cinematic world where high-schoolers could be themselves and not have to be ashamed of going against the grain. For once, someone in the media wasn’t treating them like second-class citizens and they loved every minute of it.
Instead of doing a full-on retrospective, I’ve decided to highlight five films and quotes that I feel best define the legacy of this beloved filmmaker. If your favorite doesn’t appear on the list or you’d like to add your own thoughts to the mix, feel free to comment at your leisure. I’m always looking for a good debate, so bring it on…
*I love “Ferris Bueller’s Day Off” as much as anyone, but it’s been talked about to death, so I decided not to include it here.
Films –
“National Lampoon’s Vacation” – Hughes didn’t direct this instant classic, but he did pen a script that showcased Chevy Chase’s ability to elicit a laugh from any situation imaginable. Whether it’s the picnic scene or the babbling father-son talks, it’s difficult to watch without emitting even the most temperate giggle.
“The Breakfast Club” – Since this happens to be my personal favorite, I’ll defend its quality to no end simply because of the filthy one-liners that spew out of Judd Nelson’s mouth at every turn. His rugged exterior makes for an array of laugh-out-loud moments and the fact that everybody knows he’s full of it only adds to the hi-jinx. If you’re one of the few people on Earth who hasn’t seen it, consider it a must, because Hughes’s ability to blend humor with irascible parental issues has never been better.
“Pretty in Pink” – Once again, he only wrote the script, but with a cast featuring Molly Ringwald, Jon Cryer, Andrew McCarthy, James Spader and Annie Potts, how can you possibly go wrong? The age-old tale of forbidden love is played out expertly as Ringwald and McCarthy pursue a relationship despite coming from opposite ends of the economic spectrum, while Cryer creates a character sure to live forever in the minds of women who wish they had a “Duckie” to turn to in times of despair. Great stuff.
“Planes, Trains and Automobiles” – The pairing of Steve Martin and John Candy is pure genius from beginning to end. Enough said.
“Uncle Buck”/”Home Alone” – Both films feature John Candy and Macaulay Culkin and they’re both hysterical works that have a high-volume of repeatability. I love both of them dearly and feel they should be staples for any budding film fanatic young enough to idolize Kevin McAllister.
Quotes –
“Does Barry Manilow know that you raid his wardrobe?” – John Bender (The Breakfast Club)
“Drinking and driving don’t mix. That’s why I ride a bike.” – Duckie (Pretty in Pink)
“Will milk be made available to us?” – John Bender (The Breakfast Club)
“How 'bout a nice greasy pork sandwich served in a dirty ashtray?” – Chet (Weird Science)
“Can I borrow your underpants for 10 minutes?” – The Geek (Sixteen Candles)
After all, we’re talking about the same guy who scoffed at authority in “Ferris Bueller’s Day Off,” tackled class differences with “Pretty in Pink” and made the phrase “neo-maxi-zoom-dweebie” part of the pop culture lexicon. Furthermore, I don’t think there’s a guy between the ages of 25 and 45 who doesn’t get excited just thinking about Kelly LeBrock standing in Wyatt’s doorway toward the beginning of “Weird Science,” so the impact Hughes had goes beyond mere entertainment value.
His success was the product of a Reagan-controlled universe in which kids either acquiesced to the corporate lifestyle or risked being called a “burnout” the rest of their life.
Some call it exploitation, but that implies a degree of mean-spiritedness on Hughes’s part that didn’t exist in the slightest. He simply constructed a cinematic world where high-schoolers could be themselves and not have to be ashamed of going against the grain. For once, someone in the media wasn’t treating them like second-class citizens and they loved every minute of it.
Instead of doing a full-on retrospective, I’ve decided to highlight five films and quotes that I feel best define the legacy of this beloved filmmaker. If your favorite doesn’t appear on the list or you’d like to add your own thoughts to the mix, feel free to comment at your leisure. I’m always looking for a good debate, so bring it on…
*I love “Ferris Bueller’s Day Off” as much as anyone, but it’s been talked about to death, so I decided not to include it here.
Films –
“National Lampoon’s Vacation” – Hughes didn’t direct this instant classic, but he did pen a script that showcased Chevy Chase’s ability to elicit a laugh from any situation imaginable. Whether it’s the picnic scene or the babbling father-son talks, it’s difficult to watch without emitting even the most temperate giggle.
“The Breakfast Club” – Since this happens to be my personal favorite, I’ll defend its quality to no end simply because of the filthy one-liners that spew out of Judd Nelson’s mouth at every turn. His rugged exterior makes for an array of laugh-out-loud moments and the fact that everybody knows he’s full of it only adds to the hi-jinx. If you’re one of the few people on Earth who hasn’t seen it, consider it a must, because Hughes’s ability to blend humor with irascible parental issues has never been better.
“Pretty in Pink” – Once again, he only wrote the script, but with a cast featuring Molly Ringwald, Jon Cryer, Andrew McCarthy, James Spader and Annie Potts, how can you possibly go wrong? The age-old tale of forbidden love is played out expertly as Ringwald and McCarthy pursue a relationship despite coming from opposite ends of the economic spectrum, while Cryer creates a character sure to live forever in the minds of women who wish they had a “Duckie” to turn to in times of despair. Great stuff.
“Planes, Trains and Automobiles” – The pairing of Steve Martin and John Candy is pure genius from beginning to end. Enough said.
“Uncle Buck”/”Home Alone” – Both films feature John Candy and Macaulay Culkin and they’re both hysterical works that have a high-volume of repeatability. I love both of them dearly and feel they should be staples for any budding film fanatic young enough to idolize Kevin McAllister.
Quotes –
“Does Barry Manilow know that you raid his wardrobe?” – John Bender (The Breakfast Club)
“Drinking and driving don’t mix. That’s why I ride a bike.” – Duckie (Pretty in Pink)
“Will milk be made available to us?” – John Bender (The Breakfast Club)
“How 'bout a nice greasy pork sandwich served in a dirty ashtray?” – Chet (Weird Science)
“Can I borrow your underpants for 10 minutes?” – The Geek (Sixteen Candles)
Tuesday, July 21, 2009
Angels and Demons, Brüno and Harry Potter and the Half-Blood Prince
When Ron Howard’s “The Da Vinci Code” hit theatres in May of 2006, I called it a “wildly entertaining story full of twists and intellectual intrigue guaranteed to make devout followers of Christ gasp when presented with such nonsense.” Sure, it had its issues regarding chemistry and a demented, self-mutilating Paul Bettany, but at least it provided two-plus hours of harmless summer entertainment that kept me breezily entranced.
With “Angels and Demons,” however, I got the feeling that Howard was riding high on the heels of “Frost/Nixon” and made a conscious decision to mail in an effort void of all vigor and narrative cohesion. I struggle to think of one aspect that genuinely moved me, because it felt more like a third-rate, ecclesiastical scavenger hunt than a popcorn flick deserving of so much undivided attention.
The film flat-out stinks worse than the time Chris Matthews tried to bust a move on “Ellen” and I’d hate to think that, at age 53, Tom Hanks has resigned himself to this type of cookie-cutter production. The film moved along at such a humdrum tempo that I had to propel myself to keep watching because, in the end, the story tacked on one crooked clergyman too many and could’ve used about 20-30 minutes worth of cuts to make things less convoluted.
Oy vey!
- * ½ out of 4
Sacha Baron Cohen takes “Bruno” to places that I never thought I’d see in a mainstream comedy. Actually, he takes the contemptible mockumentary to places that I never really wanted to see in a mainstream comedy but, then again, it’s that utter disregard for taste and societal acceptance that makes him one of the funniest comedic artists on the planet. The humor in this shameless saga of a gay Austrian fashionista provides a few of the craziest laugh-out-loud moments I’ve seen from any medium all year and will likely end up as the most divisive movie of 2009 not called Lars Von Trier’s “Antichrist.”
Does he go too far? Probably, but did anyone expect him not too? Whether it’s Bruno or Borat, the whole point of Cohen’s shtick is to make both the participants and the audience feel as ill at ease as possible while highlighting the idiocy of people from all walks of life. I can’t really say any more than that because, if seeing is believing, this is one shocker that needs to be seen before the censors decide to kill the first amendment indefinitely.
- *** ½ out of 4
Rather than rail on director David Yates for taking a few audacious liberties with J.K. Rowling’s beloved source material, I’ll just say that “Harry Potter and the Half-Blood Prince” is, to me, the most humanistic (If that’s even possible) film yet to be made about the world of Hogwarts.
For the first time, the three main characters are allowed to be compassionate, full-fledged teenagers who are just as concerned about romance as they are wizardry and somehow that little bit of muggle savvy provides the missing piece of the Potter puzzle. The capricious element is balanced beautifully against the newfound backdrop of teen angst and the only thing that keeps it from being the finest of the series is the gross overuse of Nicholas Hooper’s dreary musical arrangements.
Luckily, Jim Broadbent was available to liven things up, because his Oscar-worthy portrayal of Professor Horace Slughorn radiates with the kind of manic irreverence that keeps the story from becoming too much like an episode of “Degrassi: The Next Generation.”
He’s the idyllic antidote to Severus Snape’s über-deathly disposition and I can’t say enough about the luminosity of his work here. One can only hope that the next guest they bring in can match his level of pub-induced gusto, because the secondary players are often the most interesting to watch.
As for the story itself, Yates picks up the action directly where “Order of the Phoenix” left off as Harry is reeling after the murder of Sirius Black by Bellatrix Lestrange (My personal favorite) as well as beginning to ease into his role as the so-called “chosen one.”
He’s absolved himself of the whole Cho Chang debacle and now has his sights set on Ron’s younger sister Ginny, who is just as eager to move forward with the relationship. His gravest challenge remains figuring out how to defeat the Dark Lord once and for all with Ron and Hermione prepared to help him every step of the way.
Daniel Radcliffe makes strides in his sixth stint as the title character, but his performance doesn’t demand your attention the way some of the unsung people do.
Personally, I’m more entertained watching Helena Bonham Carter unleash the zaniness as the aforementioned Lestrange and Evanna Lynch exude the most endearing presence of all as Luna Lovegood. These are the people I come to see because, with the laundry list of talent these movies tend to boast, it’s easy for the three leads to get pushed aside when the showier roles take center stage.
In theory, this installment had the potential to be the best yet, but ultimately suffered from a botched final act that packed the emotional punch of a National Enquirer cover story. All the darkness that had been building up through the years never quite manifested itself the way I hoped it would so, if Yates wants to redeem himself, he needs to make The Deathly Hallows as close to the book as possible. I’ve read the final installment and, if Yates does it the right way, we could be looking at something that’ll force the Academy to finally take notice.
- *** out of 4
With “Angels and Demons,” however, I got the feeling that Howard was riding high on the heels of “Frost/Nixon” and made a conscious decision to mail in an effort void of all vigor and narrative cohesion. I struggle to think of one aspect that genuinely moved me, because it felt more like a third-rate, ecclesiastical scavenger hunt than a popcorn flick deserving of so much undivided attention.
The film flat-out stinks worse than the time Chris Matthews tried to bust a move on “Ellen” and I’d hate to think that, at age 53, Tom Hanks has resigned himself to this type of cookie-cutter production. The film moved along at such a humdrum tempo that I had to propel myself to keep watching because, in the end, the story tacked on one crooked clergyman too many and could’ve used about 20-30 minutes worth of cuts to make things less convoluted.
Oy vey!
- * ½ out of 4
Sacha Baron Cohen takes “Bruno” to places that I never thought I’d see in a mainstream comedy. Actually, he takes the contemptible mockumentary to places that I never really wanted to see in a mainstream comedy but, then again, it’s that utter disregard for taste and societal acceptance that makes him one of the funniest comedic artists on the planet. The humor in this shameless saga of a gay Austrian fashionista provides a few of the craziest laugh-out-loud moments I’ve seen from any medium all year and will likely end up as the most divisive movie of 2009 not called Lars Von Trier’s “Antichrist.”
Does he go too far? Probably, but did anyone expect him not too? Whether it’s Bruno or Borat, the whole point of Cohen’s shtick is to make both the participants and the audience feel as ill at ease as possible while highlighting the idiocy of people from all walks of life. I can’t really say any more than that because, if seeing is believing, this is one shocker that needs to be seen before the censors decide to kill the first amendment indefinitely.
- *** ½ out of 4
Rather than rail on director David Yates for taking a few audacious liberties with J.K. Rowling’s beloved source material, I’ll just say that “Harry Potter and the Half-Blood Prince” is, to me, the most humanistic (If that’s even possible) film yet to be made about the world of Hogwarts.
For the first time, the three main characters are allowed to be compassionate, full-fledged teenagers who are just as concerned about romance as they are wizardry and somehow that little bit of muggle savvy provides the missing piece of the Potter puzzle. The capricious element is balanced beautifully against the newfound backdrop of teen angst and the only thing that keeps it from being the finest of the series is the gross overuse of Nicholas Hooper’s dreary musical arrangements.
Luckily, Jim Broadbent was available to liven things up, because his Oscar-worthy portrayal of Professor Horace Slughorn radiates with the kind of manic irreverence that keeps the story from becoming too much like an episode of “Degrassi: The Next Generation.”
He’s the idyllic antidote to Severus Snape’s über-deathly disposition and I can’t say enough about the luminosity of his work here. One can only hope that the next guest they bring in can match his level of pub-induced gusto, because the secondary players are often the most interesting to watch.
As for the story itself, Yates picks up the action directly where “Order of the Phoenix” left off as Harry is reeling after the murder of Sirius Black by Bellatrix Lestrange (My personal favorite) as well as beginning to ease into his role as the so-called “chosen one.”
He’s absolved himself of the whole Cho Chang debacle and now has his sights set on Ron’s younger sister Ginny, who is just as eager to move forward with the relationship. His gravest challenge remains figuring out how to defeat the Dark Lord once and for all with Ron and Hermione prepared to help him every step of the way.
Daniel Radcliffe makes strides in his sixth stint as the title character, but his performance doesn’t demand your attention the way some of the unsung people do.
Personally, I’m more entertained watching Helena Bonham Carter unleash the zaniness as the aforementioned Lestrange and Evanna Lynch exude the most endearing presence of all as Luna Lovegood. These are the people I come to see because, with the laundry list of talent these movies tend to boast, it’s easy for the three leads to get pushed aside when the showier roles take center stage.
In theory, this installment had the potential to be the best yet, but ultimately suffered from a botched final act that packed the emotional punch of a National Enquirer cover story. All the darkness that had been building up through the years never quite manifested itself the way I hoped it would so, if Yates wants to redeem himself, he needs to make The Deathly Hallows as close to the book as possible. I’ve read the final installment and, if Yates does it the right way, we could be looking at something that’ll force the Academy to finally take notice.
- *** out of 4
Monday, July 13, 2009
The Cult delivers despite placid crowd
From the moment frontman Ian Astbury said “Let’s show these Americans how to rock and roll,” you could feel the crowd starting to pull away. Whatever frenzied goodwill he and the rest of The Cult generated seemed to evaporate with each anti-American slip of the tongue and, believe me, there were plenty of ill-advised pot shots to go around. One could say that his remarks were in bad taste, but judging from the attendees’ overall lack of enthusiasm; I can’t really blame him for trying to ignite their nationalistic fire.
Opening with a fiery rendition of “Lil’ Devil,” The Cult immediately let people know that they’re still a force to be reckoned with in the rock universe. Astbury’s soulfully operatic vocal styling hasn’t lost one iota of its passion and lead guitarist Billy Duffy tears through the fretboard as if the guitar said that his mother wears army boots. Every power chord more torrential than the last, every solo navigated with the utmost attention to detail. The only thing absent was a little Mac and Jack’s Wonder Potion to get the crowd’s energy levels peaking (That’s my only Michael Jackson reference, I promise), because then the band would’ve had something palpable to feed off of.
About halfway through the set, Astbury began to imitate the comatose audience members by standing still with his arms folded to the side to signal the apex of his consternation. How they managed to put together 70 minutes of exuberant hard rock is a mystery to me, because it just didn’t have the anarchic vibe usually present at shows of this nature. Had it been 1988, things may have turned out differently, but I guess we’ll never know.
Highlights of the evening include an exquisite “Edie (Ciao Baby),” a boisterous “Fire Woman” and an immaculate one-two punch of “Love Removal Machine” and “She Sells Sanctuary” to cap off a perfect summer evening.
Usually, you need to be Christian Bale in “The Machinist” just to maneuver your way through the mess, but not on this night. On this night, the gaps were just begging to be filled by fans who know a killer rock show when they see one. Those who were there should cherish it, because if Friday’s tepid overtone meant anything, The Cult might never set foot in Lockport again.
Opening with a fiery rendition of “Lil’ Devil,” The Cult immediately let people know that they’re still a force to be reckoned with in the rock universe. Astbury’s soulfully operatic vocal styling hasn’t lost one iota of its passion and lead guitarist Billy Duffy tears through the fretboard as if the guitar said that his mother wears army boots. Every power chord more torrential than the last, every solo navigated with the utmost attention to detail. The only thing absent was a little Mac and Jack’s Wonder Potion to get the crowd’s energy levels peaking (That’s my only Michael Jackson reference, I promise), because then the band would’ve had something palpable to feed off of.
About halfway through the set, Astbury began to imitate the comatose audience members by standing still with his arms folded to the side to signal the apex of his consternation. How they managed to put together 70 minutes of exuberant hard rock is a mystery to me, because it just didn’t have the anarchic vibe usually present at shows of this nature. Had it been 1988, things may have turned out differently, but I guess we’ll never know.
Highlights of the evening include an exquisite “Edie (Ciao Baby),” a boisterous “Fire Woman” and an immaculate one-two punch of “Love Removal Machine” and “She Sells Sanctuary” to cap off a perfect summer evening.
Usually, you need to be Christian Bale in “The Machinist” just to maneuver your way through the mess, but not on this night. On this night, the gaps were just begging to be filled by fans who know a killer rock show when they see one. Those who were there should cherish it, because if Friday’s tepid overtone meant anything, The Cult might never set foot in Lockport again.
Wednesday, July 1, 2009
Summer Movie Catch-Up
"Drag Me to Hell" - *** 1/2 out of 4 (I was too tired to review it)
As someone who’s never seen a minute of the original “Star Trek” television series, I found J.J. Abrams’s frenetically paced update to be extraordinary in every facet of the game. The action is incendiary, the script is refreshing and the cast gels together as well any Best Picture winner in recent memory. I, for one, don’t think it’s a stretch to call it the most rewarding Sci-Fi experience since 1999’s “The Matrix,” but I’ll save that argument for a later date. If you haven’t seen it yet, I suggest going soon, because it just wouldn’t be the same without the chaotic magnitude of your local multiplex.
- **** out of 4
“The Hangover” takes what classics such as “Animal House” and “Bachelor Party” did to a level that is almost guaranteed to make the audience keel over in a way that most comedies can’t even imagine. Bradley Cooper, Ed Helms and Zach Galifianakis are the perfect trio of impetuous misfits, because they actually buy into the “what happens in Vegas” philosophy to the point that not even the most morally repugnant behavior is off limits. Their escapades lead them to an emergency room, a police station and even Mike Tyson’s living room, where Galifianakis experiences first-hand what it feels like to get decked by the “Baddest Man on the Planet.” Every scene is pitch perfect in its mirth and even the most prudish individual should find something to crack a smile at because, in the end, it’s pretty effing hilarious.
- *** ½ out of 4
Tony Scott’s remake of “The Taking of Pelham 1 2 3” is the kind of breezy, snarling hostage flick you’ve seen a thousand times. Denzel Washington is the calm, cool and collected city employee whose ethical veracity is tested as he tries to put his kids through college. John Travolta is the intelligent, overconfident ex-convict who thinks that everything will play out according to his wily little plan.
When their lives intersect, the plot thickens and allows both of them to indulge in performances that are essentially predictable by their standards. Washington has played the devoted family man before and Travolta has been living off the slimy, silver-tongued criminal persona since “Face/Off,” so while their sardonic banter is fun to watch, the overall product would be best served on DVD.
- ** ½ out 4
*For the record, in no way, shape or form was this review based on Hasbro Action Figures
Comedian George Carlin used to spend countless hours ranting and raving about the manufacturing of American bullshit and I can’t help but think that his contempt was inspired by Michael Bay’s brazenly haphazard approach to movie making. I say this not because of some misplaced sense of animosity I have toward Bay, but because I didn’t buy one second of his latest commercial mind eraser “Transformers: Revenge of the Fallen.”
Seriously, am I the only one who thinks a five-year-old in his bedroom could’ve come up with a more compelling narrative?
Then again, why should I even bother exhausting so much vitriol on a film that rakes in money faster than a prostitute at the Bunny Ranch? It seems that whenever audiences lock on to something, they throw all rationality to the wind and convince themselves that a bloated, wasteful excuse for a summer popcorn movie is worthy of their devotion.
Personally, I approach a Michael Bay picture like something from M. Night Shayamalan in that I never let hope get it in the way of something I know will be more bologna than filet.
Anyway, back to the task at hand. I know I might be violating some fanboy law by saying this, but I don’t find the “Transformers” mythology to be the least bit interesting.
To me, the robots are predictable, the plot takes itself too seriously and the actors have nothing to do except run around screaming bloody murder. There’s no inherent drama in the story, because Bay has yet to figure out how to stage a scene of genuine emotion. He can, however, explore the heavenly anatomy of Megan Fox with expert precision, so I guess he’s not too far gone in that respect.
Shia LaBeouf tries like crazy to hold the film together, but the objective is really just to blow up as many things as possible and leave the audience in awe over American military technology. I was constantly reminded of those navy commercials with Godsmack blaring in the background, which is okay to a certain extent, but I could’ve easily stayed home and watched the commercial on YouTube without spending $7.50 on a ticket. Had Spielberg directed, I think he could’ve made this work, but Bay’s vision feels like someone vomited their imagination all over the screen and called it a day.
I’d like to think that with a little focus and professionalism, Bay can return to being a must-see director, because “Bad Boys,” “The Rock” and “The Island” were all quite good in their own hyperactive way. I would also put forth the notion that the audience is as much to blame as anybody, but that’s something I’ve touched on many times before, so I won’t delve into that here. That’s enough for now. I need to go find a tighter shirt.
- * ½ out of 4
As someone who’s never seen a minute of the original “Star Trek” television series, I found J.J. Abrams’s frenetically paced update to be extraordinary in every facet of the game. The action is incendiary, the script is refreshing and the cast gels together as well any Best Picture winner in recent memory. I, for one, don’t think it’s a stretch to call it the most rewarding Sci-Fi experience since 1999’s “The Matrix,” but I’ll save that argument for a later date. If you haven’t seen it yet, I suggest going soon, because it just wouldn’t be the same without the chaotic magnitude of your local multiplex.
- **** out of 4
“The Hangover” takes what classics such as “Animal House” and “Bachelor Party” did to a level that is almost guaranteed to make the audience keel over in a way that most comedies can’t even imagine. Bradley Cooper, Ed Helms and Zach Galifianakis are the perfect trio of impetuous misfits, because they actually buy into the “what happens in Vegas” philosophy to the point that not even the most morally repugnant behavior is off limits. Their escapades lead them to an emergency room, a police station and even Mike Tyson’s living room, where Galifianakis experiences first-hand what it feels like to get decked by the “Baddest Man on the Planet.” Every scene is pitch perfect in its mirth and even the most prudish individual should find something to crack a smile at because, in the end, it’s pretty effing hilarious.
- *** ½ out of 4
Tony Scott’s remake of “The Taking of Pelham 1 2 3” is the kind of breezy, snarling hostage flick you’ve seen a thousand times. Denzel Washington is the calm, cool and collected city employee whose ethical veracity is tested as he tries to put his kids through college. John Travolta is the intelligent, overconfident ex-convict who thinks that everything will play out according to his wily little plan.
When their lives intersect, the plot thickens and allows both of them to indulge in performances that are essentially predictable by their standards. Washington has played the devoted family man before and Travolta has been living off the slimy, silver-tongued criminal persona since “Face/Off,” so while their sardonic banter is fun to watch, the overall product would be best served on DVD.
- ** ½ out 4
*For the record, in no way, shape or form was this review based on Hasbro Action Figures
Comedian George Carlin used to spend countless hours ranting and raving about the manufacturing of American bullshit and I can’t help but think that his contempt was inspired by Michael Bay’s brazenly haphazard approach to movie making. I say this not because of some misplaced sense of animosity I have toward Bay, but because I didn’t buy one second of his latest commercial mind eraser “Transformers: Revenge of the Fallen.”
Seriously, am I the only one who thinks a five-year-old in his bedroom could’ve come up with a more compelling narrative?
Then again, why should I even bother exhausting so much vitriol on a film that rakes in money faster than a prostitute at the Bunny Ranch? It seems that whenever audiences lock on to something, they throw all rationality to the wind and convince themselves that a bloated, wasteful excuse for a summer popcorn movie is worthy of their devotion.
Personally, I approach a Michael Bay picture like something from M. Night Shayamalan in that I never let hope get it in the way of something I know will be more bologna than filet.
Anyway, back to the task at hand. I know I might be violating some fanboy law by saying this, but I don’t find the “Transformers” mythology to be the least bit interesting.
To me, the robots are predictable, the plot takes itself too seriously and the actors have nothing to do except run around screaming bloody murder. There’s no inherent drama in the story, because Bay has yet to figure out how to stage a scene of genuine emotion. He can, however, explore the heavenly anatomy of Megan Fox with expert precision, so I guess he’s not too far gone in that respect.
Shia LaBeouf tries like crazy to hold the film together, but the objective is really just to blow up as many things as possible and leave the audience in awe over American military technology. I was constantly reminded of those navy commercials with Godsmack blaring in the background, which is okay to a certain extent, but I could’ve easily stayed home and watched the commercial on YouTube without spending $7.50 on a ticket. Had Spielberg directed, I think he could’ve made this work, but Bay’s vision feels like someone vomited their imagination all over the screen and called it a day.
I’d like to think that with a little focus and professionalism, Bay can return to being a must-see director, because “Bad Boys,” “The Rock” and “The Island” were all quite good in their own hyperactive way. I would also put forth the notion that the audience is as much to blame as anybody, but that’s something I’ve touched on many times before, so I won’t delve into that here. That’s enough for now. I need to go find a tighter shirt.
- * ½ out of 4
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