After I wrote my post on Thursday, I finished up my comics (X-Factor 200 was fun with the Thing vs. Guido/Shatterstar fight and GLCorps undid what it did last issue too fast). I don't recall much else about the evening.
Yesterday I woke up and got stuck in traffic behind a downed power line in Easley. When I called the guy I was meeting to explain I used some harsh language like "some brain surgeon knocked down a power line" and he gave me a guilt trip ("when I'm perfect I'll start judging other people"). That reminds me of the character I met at the Taylors library on Wed. His son had just been popped for possession of MJ after being on probation. He thought I was an attorney. Anyway, we started talking and he said two things that stood out in my mind: "I wish my son could go through his life with his anus intact" and (regarding why his brother-in-law has 8 kids) "Keep it in your pants or at least make a snowstorm on her belly." Classy.
I did some work at Greenville Tech and tried to track a source down. I skipped the holiday party for my company because I am an asocial crank (and I had work to get done). I was off at 12:45 but I worked until 1:45. I read some of the Secret Warriors tpb (ok so far). Mom and I watched Year One with Jack Black and Michael Cera. It was...not very good. I laughed a couple of times but it was pretty painfully unfunny (lots of frantic mugging). Not recommended.
I then stayed up playing Marvel Ultimate Alliance on PS2. There is such a vast chasm of difference (re: quality) between Ultimate Alliance 1 and Ultimate Alliance 2 for PS2 in that UA2 sucks balls. There is nowhere near the same level of customization or detail. The character choices are kind of stupid with no costume changes. Boring. But I was up until 3am with UA1 and loving it.
Josh
Saturday, December 19, 2009
Thursday, December 17, 2009
12/17/09 Radio and comics
I have decided to start keeping this up again as a personal blog. I miss having a place to write so it may not always be pop culture.
A mini-black out woke me up from a dream I was having about sneaking around the house of my high school geometry teacher. She had these three daughters (in my dream) who were super hot and I was trying to spy on them. Oddly, the absence of background noise woke me up when I realized my fan had stopped blowing. I finally got back to sleep but slept in a bit to make up for it.
I didn't get out of the house until 11 but headed to Easley for a fruitless stop. I next journeyed to the post office and mailed out my Christmas packages for Eric, Diana and Susan. I drove on to Greenville Tech (where the records woman is strangely attractive to me) and on to Simpsonville. I interviewed a cool guy for about 1.5 hours and then finally got some lunch around 3:30 at Jack in the Box (not my usual steak melt but a cheeseburger). All day I was meaning to listen to the cd Eric sent me but I kept listening to Howard Stern and the XM radio that never stops broadcasting awesome. This is going to be a tough habit to break.
After another fruitless trip to Travelers Rest (read: Tigerville), I got back home at 5ish. Today I read Dark Avengers 12 (Sentry's powers are explained and, boy, is he powerful), Supergirl (Silver Banshee shows up, meh) and Thunderbolts vs. Agents of Atlas (I am glad they are keeping the AoA story alive in various other titles). There may be more later but that is it as of now.
I have been thinking about making a timeline of all my crushes and loves. It has been settling in all week that I will never have kids and I just have to kind of accept that. I had a window there and spurned it so now I have to sleep in the bed I made. More to come.
Josh
A mini-black out woke me up from a dream I was having about sneaking around the house of my high school geometry teacher. She had these three daughters (in my dream) who were super hot and I was trying to spy on them. Oddly, the absence of background noise woke me up when I realized my fan had stopped blowing. I finally got back to sleep but slept in a bit to make up for it.
I didn't get out of the house until 11 but headed to Easley for a fruitless stop. I next journeyed to the post office and mailed out my Christmas packages for Eric, Diana and Susan. I drove on to Greenville Tech (where the records woman is strangely attractive to me) and on to Simpsonville. I interviewed a cool guy for about 1.5 hours and then finally got some lunch around 3:30 at Jack in the Box (not my usual steak melt but a cheeseburger). All day I was meaning to listen to the cd Eric sent me but I kept listening to Howard Stern and the XM radio that never stops broadcasting awesome. This is going to be a tough habit to break.
After another fruitless trip to Travelers Rest (read: Tigerville), I got back home at 5ish. Today I read Dark Avengers 12 (Sentry's powers are explained and, boy, is he powerful), Supergirl (Silver Banshee shows up, meh) and Thunderbolts vs. Agents of Atlas (I am glad they are keeping the AoA story alive in various other titles). There may be more later but that is it as of now.
I have been thinking about making a timeline of all my crushes and loves. It has been settling in all week that I will never have kids and I just have to kind of accept that. I had a window there and spurned it so now I have to sleep in the bed I made. More to come.
Josh
Saturday, August 1, 2009
Movie Double-Shot: Funny People and The Collector
On Friday, I went to see Funny People with Jack and, as per usual with Apatow, I was pleased with the results. Judd Apatow has his name on a ton of movies but this is only the third he has directed (after 40 Year Old Virgin and Knocked Up). If you know those two movies, you know whether or not his comedy is your cup of tea.
The premise is completely given away by the trailers but I will try to not reveal the important things. The movie opens with Adam Sandler as George Simmons, a very famous comedian who has parlayed his success into a mansion, tons of swag and more money than he knows what to do with. He is diagnosed as having a rare form of Leukemia in the first five minutes and he suddenly realizes how empty and meaningless his fortune is without a family or real friends. In the first act he sort of recruits Seth Rogen (an aspiring stand up) as his personal assistant and confides in him that he is dying. A big reveal happens about halfway through and then the last hour or so is dedicated to Sandler trying to win the love of his former fiance (who has been married and reproducing for 12 years with Eric Bana).
The humor is mostly dick and fart jokes but they are hilarious. There are several touching moments but it never got me to the point of real emotional involvement. Seth Rogen continues to be a real superstar of comedy, turning in another superbly funny performance as a habitual nice guy. My favorite joke of the movie is part of Rogen's stand up act that plays up the fact that he becomes friends with girls rather than a romantic interest (you'll know it when you see it). Sandler shows some of those acting chops like in Punch-Drunk Love here and really captures the loneliness of his character while still keeping a defensive screen of sarcasm and wit about him at all times. Leslie Mann gets her best role to date as Sandler's long lost love. She gets to show some really diverse colors as she moves from lovable to crazy to human. Jonah Hill and Jason Schwartzman turn in good supporting roles, showing up long enough to bring some mild conflict and ribald humor. There are a ton of celebrity cameos here and some of them even work (a stand out involves Eminem and Ray Romano).
The only complaint I can see people having is the length. It almost felt like two movies to me (the one before the big reveal and the one after) and there are tons of subplots that run throughout. I liked the size of the meal here but your mileage may vary. Again, not for people squeamish about dirty jokes but overall a winner.
The Collector, on the other hand, I just barely liked. I keep falling for these horror reviews on Ain't It Cool News where everyone over there just loves torture porn. I am not a huge fan. I made my disliking for The Strangers well known last year. Every Saw movie after the first one just got worse and worse. I've never even seen Hostel or Wolf Creek. Even though I knew the writers of the 3rd, 4th and 5th Saw movies wrote this one, I read a review that said this was really compelling and exciting.
The premise is super-cool, a thief must break into the house of a rich family he installed the alarms for by midnight or Bunny Colvin from the Wire is going to do bad things to his wife and daughter (his wife apparently takes money from loan sharks). When he breaks into the house, he finds that a serial killer has taken the family hostage and booby trapped the hell out of the place. This would seem to set up a cool cat and mouse game between the killer and the thief. But is doesn't.
It is hard to tell whether the killer even knows if the thief is in the house for most of the movie. The thief has keep avoiding trapped rooms but he is pretty passive as the killer goes to town on the family and some hapless bystanders. I can't talk too much about why I don't care for this movie without going into the ending but, if you know why I didn't care for the Strangers, I can say that this is pretty much the same complaint (only slightly better than that movie). The other big problem is the MTV editing where two dark figures, dressed in black, tussle in an unlit room. I had no clue what was going on several times or who came from where and how. There are a couple of traps that I have no clue as to how they worked. That is a failure of basic storytelling. There is a good 20 minute run or more where I don't think anyone speaks and that is a bold move. However, when you take away dialogue, you have to be visually compelling and this movie fails in that regard.
This wasn't nearly as clever or as exciting as I was hoping (several gags are straight out of the Saw playbook). It is exhausting and sadistic in many ways. Not an experience I wish to repeat but, if you love the Saw movies, you should probably see this.
Josh
The premise is completely given away by the trailers but I will try to not reveal the important things. The movie opens with Adam Sandler as George Simmons, a very famous comedian who has parlayed his success into a mansion, tons of swag and more money than he knows what to do with. He is diagnosed as having a rare form of Leukemia in the first five minutes and he suddenly realizes how empty and meaningless his fortune is without a family or real friends. In the first act he sort of recruits Seth Rogen (an aspiring stand up) as his personal assistant and confides in him that he is dying. A big reveal happens about halfway through and then the last hour or so is dedicated to Sandler trying to win the love of his former fiance (who has been married and reproducing for 12 years with Eric Bana).
The humor is mostly dick and fart jokes but they are hilarious. There are several touching moments but it never got me to the point of real emotional involvement. Seth Rogen continues to be a real superstar of comedy, turning in another superbly funny performance as a habitual nice guy. My favorite joke of the movie is part of Rogen's stand up act that plays up the fact that he becomes friends with girls rather than a romantic interest (you'll know it when you see it). Sandler shows some of those acting chops like in Punch-Drunk Love here and really captures the loneliness of his character while still keeping a defensive screen of sarcasm and wit about him at all times. Leslie Mann gets her best role to date as Sandler's long lost love. She gets to show some really diverse colors as she moves from lovable to crazy to human. Jonah Hill and Jason Schwartzman turn in good supporting roles, showing up long enough to bring some mild conflict and ribald humor. There are a ton of celebrity cameos here and some of them even work (a stand out involves Eminem and Ray Romano).
The only complaint I can see people having is the length. It almost felt like two movies to me (the one before the big reveal and the one after) and there are tons of subplots that run throughout. I liked the size of the meal here but your mileage may vary. Again, not for people squeamish about dirty jokes but overall a winner.
The Collector, on the other hand, I just barely liked. I keep falling for these horror reviews on Ain't It Cool News where everyone over there just loves torture porn. I am not a huge fan. I made my disliking for The Strangers well known last year. Every Saw movie after the first one just got worse and worse. I've never even seen Hostel or Wolf Creek. Even though I knew the writers of the 3rd, 4th and 5th Saw movies wrote this one, I read a review that said this was really compelling and exciting.
The premise is super-cool, a thief must break into the house of a rich family he installed the alarms for by midnight or Bunny Colvin from the Wire is going to do bad things to his wife and daughter (his wife apparently takes money from loan sharks). When he breaks into the house, he finds that a serial killer has taken the family hostage and booby trapped the hell out of the place. This would seem to set up a cool cat and mouse game between the killer and the thief. But is doesn't.
It is hard to tell whether the killer even knows if the thief is in the house for most of the movie. The thief has keep avoiding trapped rooms but he is pretty passive as the killer goes to town on the family and some hapless bystanders. I can't talk too much about why I don't care for this movie without going into the ending but, if you know why I didn't care for the Strangers, I can say that this is pretty much the same complaint (only slightly better than that movie). The other big problem is the MTV editing where two dark figures, dressed in black, tussle in an unlit room. I had no clue what was going on several times or who came from where and how. There are a couple of traps that I have no clue as to how they worked. That is a failure of basic storytelling. There is a good 20 minute run or more where I don't think anyone speaks and that is a bold move. However, when you take away dialogue, you have to be visually compelling and this movie fails in that regard.
This wasn't nearly as clever or as exciting as I was hoping (several gags are straight out of the Saw playbook). It is exhausting and sadistic in many ways. Not an experience I wish to repeat but, if you love the Saw movies, you should probably see this.
Josh
Monday, July 6, 2009
Wilco (the album [the review]) plus a war with Radiohead
Another volley is launched in the war between Radiohead and Wilco for who will rule my headspace of music. In one corner you have the British darlings of alternative rock, the 'head. With seven albums to their name, and only a few duds, these are the guys to beat. Can the scrappy American group led by Jeff Tweedy bring them down? We'll see.
Wilco (the album) is the seventh from this group and we can finally do a side by side comparison (if we don't count the Mermaid Avenue stuff).
A.M. (Wilco) vs. Pablo Honey (Radiohead). Both came out of the gate a little unsure of their sound. Tweedy used Wilco to explore the country rock he popularized with Jay Farrar in Uncle Tupelo. Unfortunately, most of the ideas lacked kick and where, frankly, half-baked. Radiohead cashed in on the surge in popularity for alternative rock with their hit song "Creep." Although the band was all set from this first album, they leaned heavily on crunchy guitars and screamed lyrics. There was little of the musical inventiveness that would mark their later work. Advantage: Radiohead, but only by a little.
Being There vs. The Bends. Here we see two bands come into their own. Tweedy had recruited his secret weapon, Jay Bennett, and made some line-up changes. Their second album was still rooted in country sounds but you could see the yearning to explore in tracks like Outtamind (Outtasite) and Sunken Treasure. Thom Yorke and his crew dug deep and moved guitar rock forward towards the millenium by perfecting the recipe of Pablo Honey while adding depth, maturity and experimentation to their songwriting. If you picked only the best tracks from Being There, it might have a shot against The Bends but it is over long and suffers from a lack of editing. The Bends also features "Just" one of my favorite tracks of all time so I give this one to Radiohead as well.
Summerteeth vs. OK Computer. Here is where I will lose 90% of my readers. OK Computer has been fellated and jizzed over as the greatest album of the 1990s ever since it came out. Yes, Radiohead pushed things forward into really cool places (with Johnny Greenwood really showing out by making guitars make noises I've never heard before). Multiple movements in songs and a pervasive dark atmosphere made this one tight and cohesive. Unfortunately, Climbing Up the Walls is on here and I despise that song. I know others who hate Electioneering (although I think it is a good nod to classic Radiohead rockers). There are some great b-sides to go with this album but I can't enjoy it all the way through like I do the Bends or Kid A. Summerteeth, on the other hand, was the sound of Tweedy letting Bennet go wild. The songs shimmer with energy and happiness but the lyrics are tortured and depressing. The juxtaposition of sound to content was novel to me at the time and I love all 14 or so tracks on this CD. I have to give Wilco this one.
Yankee Hotel Foxtrot vs. Kid A. Another really tough match up. YHF is regarded as Wilco's OK Computer, where the Bennett/Tweedy dynamic found the edge of insanity and then pushed past it. Songs are filled with weirdness and jagged rhythmic changes but they still have hooks, somehow. YHF is an eye-opener of what American music is capable of. Bad news for Wilco, then, that Radiohead showed the world what they are capable of. Kid A takes all the lashing out and weirdness of OK Computer and subverts the angry guitars into raging horn sections, bizarre drum tracks and...well, angry guitars. This album is a perfect little unit from start to finish and I would rather take a blow to the head than try to choose between my appreciation for the execution of this album and my emotional attachment to Summerteeth. Radiohead win this round.
A Ghost is Born vs. Amnesiac. Tweedy jettisons Bennett and manages to recover pretty well. The whole thing doesn't flow very well with two monolithic beasts to overcome (Kidsmoke and Less Than You Think). However, I think there are tracks on here that stand with anything off of Summerteeth or YHF. Radiohead had recorded so much for Kid A that Amnesiac became a kind of leftover platter for sampling where their heads were. This is probably my least revisited Radiohead album (even though, live, the songs work very well). There are too many experiments that go nowhere (Hunting Bears) or just plain don't work (running I Will backwards as the track for Like Spinning Plates). There is a good album to be found in Amnesiac, but Radiohead didn't take the time to find it. Advantage: Wilco.
Sky Blue Sky vs. Hail to the Thief. I don't know what happened to my boys here. Radiohead was so angry about George Bush that they made a really scattershot album. There are moments of greatness (like Go to Sleep, or 2+2=5) that recall the glories of earlier, more rocking times. But there is still the hangover of Amnesiac permeating the album and leading it down to many dead ends. Likewise, Tweedy added Nils Cline to the group and, I guess, exchanged the guitar player for his balls. There is nothing remotely dangerous or experimental about SBS. It is a very mellow album that lulls one to sleep and tries not to offend anyone's sensibility. After the glorious "fuck you" that Kidsmoke was on the last album, I could not imagine a more neutered sound. Tweedy had finally gotten off drugs but, at what cost to his music. Declaring someone the winner here would be like declaring a winner between a retarded mongoose and a dead cobra. Draw.
Wilco (the album) vs. In Rainbows. Both of these albums give me hope in two very different ways. In Rainbows is all about finding a way to move into new territory with the weapons radiohead has developed over the past two decades. There are no huge leaps forward or stunning experiments, rather radiohead seems to focus on songcraft for the sake of writing good songs again. They still haven't gotten the flow back from the days of Kid A but most of the album hangs together well (except I still hate Reckoner). For Wilco (the album) Tweedy seems to be looking backwards. Every track reminds me of a song from another Tweedy work. Let's break it down...
1. Wilco (the song)- The melody for this is dangerously close to Tweedy's "We've Been Had" from his Uncle Tupelo days. Instead of rejecting rock and roll as a lie, Tweedy tries to see the positive impact of rock on the listeners. This is a catchy rocker right off the bat which immediately separates it from anything on Sky Blue Sky. Good move.
2. Deeper Down- This song shares a lyrical idea with "She's A Jar" from Summerteeth (the bookend lyrics) and is not a million miles away from it musically. The arrangement recalls Being There era attempts to find a sound that is somewhere between indie rock and americana. This isn't the best song on the album but is solid in execution.
3. One Wing- When I first heard this, I did not care for it. It has grown on me, though. Musically, this song dwells firmly in Sky Blue Sky style shimmery guitar and mid-tempo percussion. Somewhere buried in all that is a hook or two that works pretty well. The lyrics are unintentionally comical but Tweedy somehow pulls them off with his sincere voice. Check back with me later to see how I would rate this.
4. Bull Black Nova- The internet cool kids love this one. It sounds like Kidsmoke but shorter. This is as experimental as the new album gets with a keyboard doing a call and response with a guitar line. The song seems to be building to something and, even though the release is not as cathartic as the best rock songs, it still works.
5. You and I- This duet is pretty sweet natured and happy. It serves as a nice comedown after the snarling beast that is Bull Black Nova. The sentiment is nice but, ultimately, this is an undistinguished song.
6. You Never Know- Here is one of two songs Tweedy seems to be channeling Summerteeth through. Beach Boy harmonies, a bouncy piano line and all the things I thought had died when Bennett was kicked out. Of course, no one has his flair for weirdo percussion or instruments flying in from nowhere but it still holds up as a good pop song (if a little repetitive by the end).
7. Country Disappeared- Honestly, I can't even tell you what this sounds like. Like the worst formless much on SBS, this song just kind of sits there which is a shame after the propulsion of the last track.
8. Solitaire- I have gone from liking to hating to liking this song again over the course of a week. This is not like anything on Tweedy's plate except maybe his work with the Minus Five. He avoids an easy rhyme at the beginning and it seems to meander a bit but this song about loneliness is pretty good in all.
9. I'll Fight- Here is some old school Wilco as well. A lyrical idea out of AM or something moves this little ditty along. It isn't well developed but what is here is fun.
10. Sonny Feeling- My second favorite track and another Summerteeth contender. This one has a guitar hook that works like an ear worm. I dare you not to at least enjoy this song while it is playing (if not whistle it fondly when it is not). Another Beach Boys homage and a strong way to end the meat of the album
11. Everlasting Everything- This is, sad to say, not a good way to end an album. Soggy, undercooked and a pale imitation of On and On and On. There is one cool musical moment right before the chorus starts but, otherwise, this one needed more time in the studio.
So, a solid album. I would put it up there with a Ghost is Born. Not cohesive but entertaining. Unlike every other Wilco album, I have no idea where they will go from here (unless Solitaire is the roadmap track). I would probably give In Rainbows the edge for now but check with me later. Looks like Radiohead hasn't been dethroned just yet.
Josh
Wilco (the album) is the seventh from this group and we can finally do a side by side comparison (if we don't count the Mermaid Avenue stuff).
A.M. (Wilco) vs. Pablo Honey (Radiohead). Both came out of the gate a little unsure of their sound. Tweedy used Wilco to explore the country rock he popularized with Jay Farrar in Uncle Tupelo. Unfortunately, most of the ideas lacked kick and where, frankly, half-baked. Radiohead cashed in on the surge in popularity for alternative rock with their hit song "Creep." Although the band was all set from this first album, they leaned heavily on crunchy guitars and screamed lyrics. There was little of the musical inventiveness that would mark their later work. Advantage: Radiohead, but only by a little.
Being There vs. The Bends. Here we see two bands come into their own. Tweedy had recruited his secret weapon, Jay Bennett, and made some line-up changes. Their second album was still rooted in country sounds but you could see the yearning to explore in tracks like Outtamind (Outtasite) and Sunken Treasure. Thom Yorke and his crew dug deep and moved guitar rock forward towards the millenium by perfecting the recipe of Pablo Honey while adding depth, maturity and experimentation to their songwriting. If you picked only the best tracks from Being There, it might have a shot against The Bends but it is over long and suffers from a lack of editing. The Bends also features "Just" one of my favorite tracks of all time so I give this one to Radiohead as well.
Summerteeth vs. OK Computer. Here is where I will lose 90% of my readers. OK Computer has been fellated and jizzed over as the greatest album of the 1990s ever since it came out. Yes, Radiohead pushed things forward into really cool places (with Johnny Greenwood really showing out by making guitars make noises I've never heard before). Multiple movements in songs and a pervasive dark atmosphere made this one tight and cohesive. Unfortunately, Climbing Up the Walls is on here and I despise that song. I know others who hate Electioneering (although I think it is a good nod to classic Radiohead rockers). There are some great b-sides to go with this album but I can't enjoy it all the way through like I do the Bends or Kid A. Summerteeth, on the other hand, was the sound of Tweedy letting Bennet go wild. The songs shimmer with energy and happiness but the lyrics are tortured and depressing. The juxtaposition of sound to content was novel to me at the time and I love all 14 or so tracks on this CD. I have to give Wilco this one.
Yankee Hotel Foxtrot vs. Kid A. Another really tough match up. YHF is regarded as Wilco's OK Computer, where the Bennett/Tweedy dynamic found the edge of insanity and then pushed past it. Songs are filled with weirdness and jagged rhythmic changes but they still have hooks, somehow. YHF is an eye-opener of what American music is capable of. Bad news for Wilco, then, that Radiohead showed the world what they are capable of. Kid A takes all the lashing out and weirdness of OK Computer and subverts the angry guitars into raging horn sections, bizarre drum tracks and...well, angry guitars. This album is a perfect little unit from start to finish and I would rather take a blow to the head than try to choose between my appreciation for the execution of this album and my emotional attachment to Summerteeth. Radiohead win this round.
A Ghost is Born vs. Amnesiac. Tweedy jettisons Bennett and manages to recover pretty well. The whole thing doesn't flow very well with two monolithic beasts to overcome (Kidsmoke and Less Than You Think). However, I think there are tracks on here that stand with anything off of Summerteeth or YHF. Radiohead had recorded so much for Kid A that Amnesiac became a kind of leftover platter for sampling where their heads were. This is probably my least revisited Radiohead album (even though, live, the songs work very well). There are too many experiments that go nowhere (Hunting Bears) or just plain don't work (running I Will backwards as the track for Like Spinning Plates). There is a good album to be found in Amnesiac, but Radiohead didn't take the time to find it. Advantage: Wilco.
Sky Blue Sky vs. Hail to the Thief. I don't know what happened to my boys here. Radiohead was so angry about George Bush that they made a really scattershot album. There are moments of greatness (like Go to Sleep, or 2+2=5) that recall the glories of earlier, more rocking times. But there is still the hangover of Amnesiac permeating the album and leading it down to many dead ends. Likewise, Tweedy added Nils Cline to the group and, I guess, exchanged the guitar player for his balls. There is nothing remotely dangerous or experimental about SBS. It is a very mellow album that lulls one to sleep and tries not to offend anyone's sensibility. After the glorious "fuck you" that Kidsmoke was on the last album, I could not imagine a more neutered sound. Tweedy had finally gotten off drugs but, at what cost to his music. Declaring someone the winner here would be like declaring a winner between a retarded mongoose and a dead cobra. Draw.
Wilco (the album) vs. In Rainbows. Both of these albums give me hope in two very different ways. In Rainbows is all about finding a way to move into new territory with the weapons radiohead has developed over the past two decades. There are no huge leaps forward or stunning experiments, rather radiohead seems to focus on songcraft for the sake of writing good songs again. They still haven't gotten the flow back from the days of Kid A but most of the album hangs together well (except I still hate Reckoner). For Wilco (the album) Tweedy seems to be looking backwards. Every track reminds me of a song from another Tweedy work. Let's break it down...
1. Wilco (the song)- The melody for this is dangerously close to Tweedy's "We've Been Had" from his Uncle Tupelo days. Instead of rejecting rock and roll as a lie, Tweedy tries to see the positive impact of rock on the listeners. This is a catchy rocker right off the bat which immediately separates it from anything on Sky Blue Sky. Good move.
2. Deeper Down- This song shares a lyrical idea with "She's A Jar" from Summerteeth (the bookend lyrics) and is not a million miles away from it musically. The arrangement recalls Being There era attempts to find a sound that is somewhere between indie rock and americana. This isn't the best song on the album but is solid in execution.
3. One Wing- When I first heard this, I did not care for it. It has grown on me, though. Musically, this song dwells firmly in Sky Blue Sky style shimmery guitar and mid-tempo percussion. Somewhere buried in all that is a hook or two that works pretty well. The lyrics are unintentionally comical but Tweedy somehow pulls them off with his sincere voice. Check back with me later to see how I would rate this.
4. Bull Black Nova- The internet cool kids love this one. It sounds like Kidsmoke but shorter. This is as experimental as the new album gets with a keyboard doing a call and response with a guitar line. The song seems to be building to something and, even though the release is not as cathartic as the best rock songs, it still works.
5. You and I- This duet is pretty sweet natured and happy. It serves as a nice comedown after the snarling beast that is Bull Black Nova. The sentiment is nice but, ultimately, this is an undistinguished song.
6. You Never Know- Here is one of two songs Tweedy seems to be channeling Summerteeth through. Beach Boy harmonies, a bouncy piano line and all the things I thought had died when Bennett was kicked out. Of course, no one has his flair for weirdo percussion or instruments flying in from nowhere but it still holds up as a good pop song (if a little repetitive by the end).
7. Country Disappeared- Honestly, I can't even tell you what this sounds like. Like the worst formless much on SBS, this song just kind of sits there which is a shame after the propulsion of the last track.
8. Solitaire- I have gone from liking to hating to liking this song again over the course of a week. This is not like anything on Tweedy's plate except maybe his work with the Minus Five. He avoids an easy rhyme at the beginning and it seems to meander a bit but this song about loneliness is pretty good in all.
9. I'll Fight- Here is some old school Wilco as well. A lyrical idea out of AM or something moves this little ditty along. It isn't well developed but what is here is fun.
10. Sonny Feeling- My second favorite track and another Summerteeth contender. This one has a guitar hook that works like an ear worm. I dare you not to at least enjoy this song while it is playing (if not whistle it fondly when it is not). Another Beach Boys homage and a strong way to end the meat of the album
11. Everlasting Everything- This is, sad to say, not a good way to end an album. Soggy, undercooked and a pale imitation of On and On and On. There is one cool musical moment right before the chorus starts but, otherwise, this one needed more time in the studio.
So, a solid album. I would put it up there with a Ghost is Born. Not cohesive but entertaining. Unlike every other Wilco album, I have no idea where they will go from here (unless Solitaire is the roadmap track). I would probably give In Rainbows the edge for now but check with me later. Looks like Radiohead hasn't been dethroned just yet.
Josh
Sunday, July 5, 2009
Public Enemies
Here we are again, with the same old problem. Movies about real life and real people, I would argue, are never as interesting as fiction. I know truth may, at times, be stranger but real life rarely follows satisfying conventions of plot and characterization. Being raised on American cinema, I am a big fan of and believer in the three act structure in regards to action/adventure movies. Or, in this case, crime drama. Episodic (or as I think of it, European) narratives work well for long-form works like TV series, comedies with strong central characters or slice-of-life dramas. Public Enemies does not fall into any of these genres.
Looking for action? Well, probably won't find enough here to keep you happy. There are a few shootouts but, if you know the story of Dillinger, you know how anti-climactic the movie is. Looking for strong characterization? Sorry, all out of that, too. Christian Bale's Melvin Purvis has no real shadings besides being a bit of an image-conscious kiss-ass. Dillinger throws out a line about being beaten by his father and refuses to take a dirt farmer's money in one bank he robs, therefore, we are supposed to like him. Depp tries like all get out to make Dillinger charismatic and charming but he comes off as sort of a dick. The film is loaded with a strong supporting cast including Giovanni Ribisi, Leelee Sobieski, Stephen Dorff, Billy Crudup and other folks you will recognize (like the sidekick from Snatch as Baby Face Nelson and the judge from the Wire). Michael Mann (who has directed good movies like Heat, Thief and Collateral) seems to hope that the legend of these characters and the power of the acting will make up for any lack of "why should I give a damn?" character building. It doesn't.
In several scenes, the frenetic editing makes the geography of the fights muddy (this is getting to be a bigger deal to me as quick cuts become the norm). In one instance, we have identically dressed white men shooting at each other at night, in the woods. It was very difficult to follow the action until the cast began spreading out a little. Likewise, the music for the movie is sloppy and all over the place. Songs aren't used to any consistent purpose but appear multiple times for no reason. Likewise, the score cuts in and out aburptly and makes things laughable.
In the end, there are about three really good scenes in the movie. One where Dillinger's girl is being interrogated, one where Dillinger takes a walk through a police department like a ghost and a handful of action moments that add up to one good action scene. Unless you are just a real fan of criminal history, I would not really recommend this movie. It doesn't deliver enough thrills to be an action movie or enough insight to be a character drama.
Josh
Looking for action? Well, probably won't find enough here to keep you happy. There are a few shootouts but, if you know the story of Dillinger, you know how anti-climactic the movie is. Looking for strong characterization? Sorry, all out of that, too. Christian Bale's Melvin Purvis has no real shadings besides being a bit of an image-conscious kiss-ass. Dillinger throws out a line about being beaten by his father and refuses to take a dirt farmer's money in one bank he robs, therefore, we are supposed to like him. Depp tries like all get out to make Dillinger charismatic and charming but he comes off as sort of a dick. The film is loaded with a strong supporting cast including Giovanni Ribisi, Leelee Sobieski, Stephen Dorff, Billy Crudup and other folks you will recognize (like the sidekick from Snatch as Baby Face Nelson and the judge from the Wire). Michael Mann (who has directed good movies like Heat, Thief and Collateral) seems to hope that the legend of these characters and the power of the acting will make up for any lack of "why should I give a damn?" character building. It doesn't.
In several scenes, the frenetic editing makes the geography of the fights muddy (this is getting to be a bigger deal to me as quick cuts become the norm). In one instance, we have identically dressed white men shooting at each other at night, in the woods. It was very difficult to follow the action until the cast began spreading out a little. Likewise, the music for the movie is sloppy and all over the place. Songs aren't used to any consistent purpose but appear multiple times for no reason. Likewise, the score cuts in and out aburptly and makes things laughable.
In the end, there are about three really good scenes in the movie. One where Dillinger's girl is being interrogated, one where Dillinger takes a walk through a police department like a ghost and a handful of action moments that add up to one good action scene. Unless you are just a real fan of criminal history, I would not really recommend this movie. It doesn't deliver enough thrills to be an action movie or enough insight to be a character drama.
Josh
Thursday, June 11, 2009
Blind Pilot- Three Rounds and a Sound
Every single time I make a pronouncement about the type of music I like and the type of music I don't, someone comes along and changes the way I think about a certain approach. One of my most steadfast beliefs is that an acoustic guitar alone cannot carry an album. In the "alone" part I may be right but Blind Pilot has shown me that an album of acoustically driven songs can be just as dynamic and interesting as Radiohead or Wilco.
First off, let me say that their album is vastly different from the live experience. On stage, these guys are able to make their mid-tempo numbers seem like break-neck speed metal (not really but their songs did seem more dynamic in their tempos live). On record, almost all the songs aim for and find their place in a sort of lazy, laidback rhythm that works really well. The percussion is really the only way to tell how fast a song is supposed to be.
The lead singer (whose name I don't know) has a high, resonant voice that really expresses emotions well (a little like a Jeff Buckley without quite such a range). The lyrics are thoughtful and engaging. The rest of the band brings in xylophones, banjos, trumpets and other instruments sparingly but enough to give each song its own flavor.
I almost never let a CD repeat in my player but I can't bring myself to take this one out. If you like chilled out acoustic americana, I recommend Blind Pilot.
Josh
First off, let me say that their album is vastly different from the live experience. On stage, these guys are able to make their mid-tempo numbers seem like break-neck speed metal (not really but their songs did seem more dynamic in their tempos live). On record, almost all the songs aim for and find their place in a sort of lazy, laidback rhythm that works really well. The percussion is really the only way to tell how fast a song is supposed to be.
The lead singer (whose name I don't know) has a high, resonant voice that really expresses emotions well (a little like a Jeff Buckley without quite such a range). The lyrics are thoughtful and engaging. The rest of the band brings in xylophones, banjos, trumpets and other instruments sparingly but enough to give each song its own flavor.
I almost never let a CD repeat in my player but I can't bring myself to take this one out. If you like chilled out acoustic americana, I recommend Blind Pilot.
Josh
Monday, June 8, 2009
House of Leaves by Mark Z. Danielewski
I almost didn't finish this. Starting this book back during...January(?), it immediately got under my skin. I started having nightmares and a feeling of dread or unease followed me around. I didn't enjoy being made to feel terrified by a simple book so I put it aside to read some Vonnegut. Let me say, I am really glad I came back and finished it.
The book operates on at least two different levels (probably more). Johnny Truant, a wastrel in LA, is given a manuscript that belonged to his friend's elderly (and recently deceased neighbor) Zampano. Zampano was writing a 500+ page meditation on a movie called the Navidson Record, that was supposedly released in 1993. The movie is a documentary (maybe) about a family moving into a house in Virginia where extra rooms appear from nowhere and, eventually, they find an all-black corridor that extends into a maze. The story of the Navidson Record is the main narrative as we follow Will Navidson (a world-famous photographer) into an exploration of the dark labryinth that somehow manifests inside his house (it goes on for miles, defying all laws of physical space). There is plenty of horror as the cold, dark expanse starts dissolving the sanity of anyone who enters. This would be spooky enough but then you have the Johnny Truant parts of the book. Truant takes it upon himself to arrange and publish the annotations Zampano has compiled. In the footnotes of chapters, we get to see the effect that reading the book has on Truant. His psychological breakdown begins to mirror our own (if you are a sensitive reader) and we see things get very, very bad for Mr. Truant before it is all over.
In between these two narratives is the mystery of Zampano that you can kind of piece together using his own footnotes and editorial choices. Along with letters from Truant's mother from her time in a mental institution as well as drawings and photos from (and inspired by) the movie, it all adds up to a pretty harrowing view of mental illness, loneliness, depair and the power of ego. The real trick is in the way that the book is written. Danielewski uses all sorts of tricks (in a chapter about labyrinths, he makes his footnotes lead nowhere or double back on themselves) and stylistic choices to force the reader to read actively. You either jump into the book with both feet or it proves too much work and you stop reading. I doubt anyone has just casually read this book. The level of effort put into the reading then translates into the impact said reading has on your subconscious mind.
I will say two things, if you are not affected by this book in any way after having read it, I would be shocked. And, it is absolutely worth it to read the whole thing. There is kind of a climax halfway through the book when an exploration of the house goes completely wrong. This is where I laid the book down and tried to purge my mind of all the negative thoughts the book created. If I had plowed through (although in my defense, there is no hint from the author that relief is in sight) I would have walked away with a quite refreshing, almost joyful release from the ending. You can't say that things end happily for everyone involved but the truths that are illuminated and the insights one can then use for one's own life are pretty damn cool.
As a work of fiction, I think Danielewski has accomplished a pretty singular and amazing feat. If you let it in, this book will make you think about big, important things in your life. While it doesn't give many answers, the questions it presents are well worth the time. Plus, it is a scary as hell horror story to boot.
Josh
The book operates on at least two different levels (probably more). Johnny Truant, a wastrel in LA, is given a manuscript that belonged to his friend's elderly (and recently deceased neighbor) Zampano. Zampano was writing a 500+ page meditation on a movie called the Navidson Record, that was supposedly released in 1993. The movie is a documentary (maybe) about a family moving into a house in Virginia where extra rooms appear from nowhere and, eventually, they find an all-black corridor that extends into a maze. The story of the Navidson Record is the main narrative as we follow Will Navidson (a world-famous photographer) into an exploration of the dark labryinth that somehow manifests inside his house (it goes on for miles, defying all laws of physical space). There is plenty of horror as the cold, dark expanse starts dissolving the sanity of anyone who enters. This would be spooky enough but then you have the Johnny Truant parts of the book. Truant takes it upon himself to arrange and publish the annotations Zampano has compiled. In the footnotes of chapters, we get to see the effect that reading the book has on Truant. His psychological breakdown begins to mirror our own (if you are a sensitive reader) and we see things get very, very bad for Mr. Truant before it is all over.
In between these two narratives is the mystery of Zampano that you can kind of piece together using his own footnotes and editorial choices. Along with letters from Truant's mother from her time in a mental institution as well as drawings and photos from (and inspired by) the movie, it all adds up to a pretty harrowing view of mental illness, loneliness, depair and the power of ego. The real trick is in the way that the book is written. Danielewski uses all sorts of tricks (in a chapter about labyrinths, he makes his footnotes lead nowhere or double back on themselves) and stylistic choices to force the reader to read actively. You either jump into the book with both feet or it proves too much work and you stop reading. I doubt anyone has just casually read this book. The level of effort put into the reading then translates into the impact said reading has on your subconscious mind.
I will say two things, if you are not affected by this book in any way after having read it, I would be shocked. And, it is absolutely worth it to read the whole thing. There is kind of a climax halfway through the book when an exploration of the house goes completely wrong. This is where I laid the book down and tried to purge my mind of all the negative thoughts the book created. If I had plowed through (although in my defense, there is no hint from the author that relief is in sight) I would have walked away with a quite refreshing, almost joyful release from the ending. You can't say that things end happily for everyone involved but the truths that are illuminated and the insights one can then use for one's own life are pretty damn cool.
As a work of fiction, I think Danielewski has accomplished a pretty singular and amazing feat. If you let it in, this book will make you think about big, important things in your life. While it doesn't give many answers, the questions it presents are well worth the time. Plus, it is a scary as hell horror story to boot.
Josh
Sunday, June 7, 2009
Picnic at Hanging Rock (1975)
Peter Weir has built a career out of examining conflicts from an internal perspective. No matter what his characters are faced with, Weir would rather chart their internal reactions than their actions in the face of adversity. This dedication to character over plot is evident right away here in his sophomore movie, Picnic at Hanging Rock.*
Starring no one I've ever heard of, seriously, this movie is so commonly mistaken for a true story that even I thought it was real. By the end of the thing, credulity would have been stretched regardless but I was still willing to bite. The idea is that a class of girls in Australia in 1900 travel to Hanging Rock near the Outback for a picnic on Valentine's Day. Four girls go exploring and only one comes back (unfortunately, the annoying one). Like Reservoir Dogs or the Hangover, the central event of the movie is never witnessed. Not only do we not know what happened on the rock, we will never know exactly what went down. So don't watch this if you want concrete answers. There is a creepy air to the whole thing (although the first 20 minutes are excruciating since you don't know how long the story is going to play out) as characters are introduced, theories are created, authorities become involved and nothing much happens. The real revelation here is that we aren't really watching a movie about some girls vanishing, we are watching the story of Sara. Sara is an orphan who is left behind from the field trip and most definitely would have joined Miranda (the ethereal beauty who leads the girls on their ill-fated trek) had she been there. While all the hoopla is going on with the search for the missing girls, Sara is having a quiet battle of wills with the headmistress of the school, Mrs. Appleyard.
Everything goes a little Charles Dickens by the end but, mostly, the story holds up. Apparently, Weir looked for Australian bumpkins to play the girls at the school and ended up hiring a bunch of non-actors. This becomes painfully obvious from the stilted line readings and general suckiness of the performances. Also, the score is overwrought and Weir makes some shockingly bad decisions that ramp up the melodrama. Despite all these flaws, the story is compelling and engaging enough to keep you watching. If you like Weir's later works, you may like this one as well. For me, one viewing was enough but I see in this one the seeds of both Weir's future strengths (strong characterizations, mostly clear storytelling) and weaknesses (over-reliance on schmaltz and heartstring abuse). Watch with caution.
Josh
*If Weir's name is not familiar please run out and rent Gallipoli, Witness, Mosquito Coast, Dead Poet's Society, Fearless or the Truman Show.
Starring no one I've ever heard of, seriously, this movie is so commonly mistaken for a true story that even I thought it was real. By the end of the thing, credulity would have been stretched regardless but I was still willing to bite. The idea is that a class of girls in Australia in 1900 travel to Hanging Rock near the Outback for a picnic on Valentine's Day. Four girls go exploring and only one comes back (unfortunately, the annoying one). Like Reservoir Dogs or the Hangover, the central event of the movie is never witnessed. Not only do we not know what happened on the rock, we will never know exactly what went down. So don't watch this if you want concrete answers. There is a creepy air to the whole thing (although the first 20 minutes are excruciating since you don't know how long the story is going to play out) as characters are introduced, theories are created, authorities become involved and nothing much happens. The real revelation here is that we aren't really watching a movie about some girls vanishing, we are watching the story of Sara. Sara is an orphan who is left behind from the field trip and most definitely would have joined Miranda (the ethereal beauty who leads the girls on their ill-fated trek) had she been there. While all the hoopla is going on with the search for the missing girls, Sara is having a quiet battle of wills with the headmistress of the school, Mrs. Appleyard.
Everything goes a little Charles Dickens by the end but, mostly, the story holds up. Apparently, Weir looked for Australian bumpkins to play the girls at the school and ended up hiring a bunch of non-actors. This becomes painfully obvious from the stilted line readings and general suckiness of the performances. Also, the score is overwrought and Weir makes some shockingly bad decisions that ramp up the melodrama. Despite all these flaws, the story is compelling and engaging enough to keep you watching. If you like Weir's later works, you may like this one as well. For me, one viewing was enough but I see in this one the seeds of both Weir's future strengths (strong characterizations, mostly clear storytelling) and weaknesses (over-reliance on schmaltz and heartstring abuse). Watch with caution.
Josh
*If Weir's name is not familiar please run out and rent Gallipoli, Witness, Mosquito Coast, Dead Poet's Society, Fearless or the Truman Show.
Y: The Last Man review
I finally finished this ten volume series and I want to discuss it a bit. Beware, there may be spoilers ahead...
I had no idea how this series would end up but, narratively, it is not completely satisfying. I don't mean the resolution to the love story so much as the the implicit promise that the deaths of all the men on Earth would be explained. The "final" explanation doesn't really seem any more plausible than the mystic or religious theories put forth at the beginning of the series. Even Yorick makes a joke about how shitty the revelation is but that really doesn't excuse the shittiness. I really hope Lost is better thought out than this series was (I get the feeling Vaughn realized that the audience wouldn't be happy without an explanation and kind of threw one together). I am just preferring to think that we never heard the real reason.
Otherwise, the journey was a blast even if the destination left something to be desired. There were lots of great moments and subplots that came together in cool ways. I was most impressed with the depth of characterization. Any woman who complains that comics have no realistic depictions of women should be forced to read this. As the cast is 99% female, you can't help but see realism in their depictions from silly fools to brainy neurotics to tough-as-nails ass-kickers and every flavor of the rainbow besides. If you like sci-fi, gender politics or just epic adventure stories with robots, pirates, ninjas, amazons, soldiers and astronauts (plus monkeys, lots of monkeys) you should check this out.
Josh
I had no idea how this series would end up but, narratively, it is not completely satisfying. I don't mean the resolution to the love story so much as the the implicit promise that the deaths of all the men on Earth would be explained. The "final" explanation doesn't really seem any more plausible than the mystic or religious theories put forth at the beginning of the series. Even Yorick makes a joke about how shitty the revelation is but that really doesn't excuse the shittiness. I really hope Lost is better thought out than this series was (I get the feeling Vaughn realized that the audience wouldn't be happy without an explanation and kind of threw one together). I am just preferring to think that we never heard the real reason.
Otherwise, the journey was a blast even if the destination left something to be desired. There were lots of great moments and subplots that came together in cool ways. I was most impressed with the depth of characterization. Any woman who complains that comics have no realistic depictions of women should be forced to read this. As the cast is 99% female, you can't help but see realism in their depictions from silly fools to brainy neurotics to tough-as-nails ass-kickers and every flavor of the rainbow besides. If you like sci-fi, gender politics or just epic adventure stories with robots, pirates, ninjas, amazons, soldiers and astronauts (plus monkeys, lots of monkeys) you should check this out.
Josh
Saturday, June 6, 2009
The Hangover
I should have gone out drinking last night to get into the spirit of the movie but, alas, I saw it very much sober and non-hungover. Regardless, I had a very good time. The premise is simple, a groom to be and his three friends head to Vegas for a bachelor party. The next morning, the friends wake up to find the groom gone, teeth missing, a tiger in the bathroom and a baby in their closet. What follows is essentially "Dude, where's my groom?" but much funnier as the guys retrace their steps.
Bradley Cooper (best known as the jerk from Wedding Crashers) plays the alpha male leader. He is married and has a kid but is still the coolest guy in the group. Ed Helms (from the Office and the Daily Show) is Stu, a dentist stuck with an emasculating girlfriend who cheats on him and belittles him at every turn. The real star of this show is Zach Galifiniakis, one of my favorite comedians (even if he did make fun of my mom at a show), who is the groom's soon-to-be brother-in-law. Zach adds a level of insanity and creepiness to the whole movie that is consistently hilarious. Supporting turns by Mike Epps (managing not to piss me off somehow), Mike Tyson, Heather Graham, Rachel Harris, Rob Riggle and Dr. Ken (the Asian doctor from Knocked Up) make the whole thing work. If this kind of thing bugs you I should tell you that we never quite get the entire story of what happens after their Jager shots on the roof of Caesar's Palace but the lost night is sort of secondary to the comedy.
The jokes in this movie can be very filthy (lots of male nudity and none of it welcome) and I can't recommend this for people who think Two and a Half Men is the apex of modern comedy. If you liked Road Trip and Old School, this one should work for you. If you think humping a tiger, getting beaten with a pipe by a naked asian man and getting tazed in the nads aren't inherently funny actions, this is not the film for you.
Josh
Josh
Bradley Cooper (best known as the jerk from Wedding Crashers) plays the alpha male leader. He is married and has a kid but is still the coolest guy in the group. Ed Helms (from the Office and the Daily Show) is Stu, a dentist stuck with an emasculating girlfriend who cheats on him and belittles him at every turn. The real star of this show is Zach Galifiniakis, one of my favorite comedians (even if he did make fun of my mom at a show), who is the groom's soon-to-be brother-in-law. Zach adds a level of insanity and creepiness to the whole movie that is consistently hilarious. Supporting turns by Mike Epps (managing not to piss me off somehow), Mike Tyson, Heather Graham, Rachel Harris, Rob Riggle and Dr. Ken (the Asian doctor from Knocked Up) make the whole thing work. If this kind of thing bugs you I should tell you that we never quite get the entire story of what happens after their Jager shots on the roof of Caesar's Palace but the lost night is sort of secondary to the comedy.
The jokes in this movie can be very filthy (lots of male nudity and none of it welcome) and I can't recommend this for people who think Two and a Half Men is the apex of modern comedy. If you liked Road Trip and Old School, this one should work for you. If you think humping a tiger, getting beaten with a pipe by a naked asian man and getting tazed in the nads aren't inherently funny actions, this is not the film for you.
Josh
Josh
Friday, June 5, 2009
Comics Cavalcade
Being on detail leaves me lots of free time to sit around my hotel room and read. I have been studiously avoiding my book club reading of On the Road in favor of the following trades...
1) Spider-Man's Tangled Web vol. 1- This collects the first six issues of a series that was a pretty cool idea. Instead of being about Spider-Man, per se, these stories all involve characters on his periphery. The first three issues involve an old bully of Peter Parker's who not only figures out that Parker is Spider-Man but also attempts to replicate the accident that gave him powers (with horrific results). This kind of reads like a normal Spidey story (but more disgusting) and didn't impress me much. The second story is about an underling of the Kingpin being called in by his boss after failing to account for Spider-Man's interference on caper. It is called "Severance Package" and works well as a one-shot crime story. The third story is "Flowers for Rhino" which follows the idea "what if the Rhino became super intelligent?" The story is funny and engaging at the same time. For fans of anthology style comics, it is worth a pick up used or from a library.
2) Astro City vol 1 Life In the Big City- Like the Tangled Web comic, this is an anthology title set in a city populated with superheroes created by Kurt Busiek. The best antecendent I can think of is the Spirit. Over the first six issues of the series we follow The Samaritan (a Superman analog) going about an average day in his life, a reporter retelling the story of how he witnessed a tale too incredible to tell, a thug witnessing the unmasking of a hero, a young woman commuting to work in a city filled with danger, an old man who spies on heroes and a date between Samaritan and a Wonder Woman analog. These stories don't really connect or create a larger narrative but they are all interesting and well-told. I like seeing fanstastic stories from the ground level point of view and these work great. I can't believe I waited this long to start it and I want to read more.
3) The Losers vol. 1 Ante Up- This series by Andy Diggle is about a group of rogue black ops agents who are out to screw over the CIA. The first collection is all about a couple of well-planned operations that end up going off the rails completely. If you like heist movies or seeing plans come together A-Team style, this is a fun book to read. Nothing earth shaking but solid action and adventure.
4) Ex Machina vol. 6 Power Down- For those who don't know, this is a series about a mayor of New York who has the power to talk to machines. He was a super-hero and saved one of the World Trade Center towers on 9/11, thus making him electable. This was the first trade of this series that felt like a bit of a rip-off. I am also getting a hang of Brian Vaughn's formula here, also. Pick a real life event or political controversy, tie a present threat into something mysterious from Mitchell Hundred's past, bake at 350 degrees and you have an Ex Machina storyline. Unlike Y: the Last Man (see below), I don't get the sense that this series is going anywhere fast. Also, this trade only has four issues in it and some behind the scenes crap I couldn't care less about. If you are already reading the series, by all means get this volume but if you haven't started, I wouldn't worry about it.
5) The Ultimate Galactus Trilogy- Having recently read the Ultimates Volume 2 and liking it almost as much as the Ultimates volume 1, I have decided to explore the Ultimate Marvel universe some more. Warren Ellis (one of my favorite comic writers) used three limited series and a one-shot (Ultimate Vision) to tell the classic story of Galactus' first attack on Earth. Starring the X-Men, Fantastic Four and the Ultimates; this series is all about wide screen action of a sort. The first series (Ultimate Nightmare) is well-paced and ends with a good fight scene in a Russian lab where the Vision is being kept. The second series (written by Millar of Ultimates fame) is more about the heroes facing off with an alien race called the Kree to get more info on Galactus. The Vision one shot gives more exposition. You see where this is going, right? The final third of the book (Ultimate Extinction) tries to cram waaaaaaay too much into too little space. We are told about a cult of suicidal types enthralled to a series of Silver Surfer style aliens but we never really see them. By the time an army of cloned Moondragons are attacking the Triskelion, I was almost interested. It is an awful lot of good build up for a rushed and (frankly) sloppy payoff. I would only recommend this if you are super into the Ultimate universe.
6) Y: The Last Man volume 8 Kimono Dragons- This series is great. I can't say enough good things about it. Vaughn captures characters and a narrative thrust that is undeniable. This is a series about a man and his pet monkey who wake up to discover that they are the last males alive on Earth. By this volume, our hero and his entourage of a secret agent, geneticist, Australian spy and two monkies make it to Japan where they must face a Yakuza run by a Britney Spears analog and their old ninja foe- Toyota. There are great plot twists and action scenes here plus a moment that made me laugh out loud ("Is she having one of my dreams?"). I cannot recommend this whole series enough, it is great.
I am currently reading Exit Wounds, Y: the Last Man volume 9, and The Losers volume 2. See you soon.
Josh
1) Spider-Man's Tangled Web vol. 1- This collects the first six issues of a series that was a pretty cool idea. Instead of being about Spider-Man, per se, these stories all involve characters on his periphery. The first three issues involve an old bully of Peter Parker's who not only figures out that Parker is Spider-Man but also attempts to replicate the accident that gave him powers (with horrific results). This kind of reads like a normal Spidey story (but more disgusting) and didn't impress me much. The second story is about an underling of the Kingpin being called in by his boss after failing to account for Spider-Man's interference on caper. It is called "Severance Package" and works well as a one-shot crime story. The third story is "Flowers for Rhino" which follows the idea "what if the Rhino became super intelligent?" The story is funny and engaging at the same time. For fans of anthology style comics, it is worth a pick up used or from a library.
2) Astro City vol 1 Life In the Big City- Like the Tangled Web comic, this is an anthology title set in a city populated with superheroes created by Kurt Busiek. The best antecendent I can think of is the Spirit. Over the first six issues of the series we follow The Samaritan (a Superman analog) going about an average day in his life, a reporter retelling the story of how he witnessed a tale too incredible to tell, a thug witnessing the unmasking of a hero, a young woman commuting to work in a city filled with danger, an old man who spies on heroes and a date between Samaritan and a Wonder Woman analog. These stories don't really connect or create a larger narrative but they are all interesting and well-told. I like seeing fanstastic stories from the ground level point of view and these work great. I can't believe I waited this long to start it and I want to read more.
3) The Losers vol. 1 Ante Up- This series by Andy Diggle is about a group of rogue black ops agents who are out to screw over the CIA. The first collection is all about a couple of well-planned operations that end up going off the rails completely. If you like heist movies or seeing plans come together A-Team style, this is a fun book to read. Nothing earth shaking but solid action and adventure.
4) Ex Machina vol. 6 Power Down- For those who don't know, this is a series about a mayor of New York who has the power to talk to machines. He was a super-hero and saved one of the World Trade Center towers on 9/11, thus making him electable. This was the first trade of this series that felt like a bit of a rip-off. I am also getting a hang of Brian Vaughn's formula here, also. Pick a real life event or political controversy, tie a present threat into something mysterious from Mitchell Hundred's past, bake at 350 degrees and you have an Ex Machina storyline. Unlike Y: the Last Man (see below), I don't get the sense that this series is going anywhere fast. Also, this trade only has four issues in it and some behind the scenes crap I couldn't care less about. If you are already reading the series, by all means get this volume but if you haven't started, I wouldn't worry about it.
5) The Ultimate Galactus Trilogy- Having recently read the Ultimates Volume 2 and liking it almost as much as the Ultimates volume 1, I have decided to explore the Ultimate Marvel universe some more. Warren Ellis (one of my favorite comic writers) used three limited series and a one-shot (Ultimate Vision) to tell the classic story of Galactus' first attack on Earth. Starring the X-Men, Fantastic Four and the Ultimates; this series is all about wide screen action of a sort. The first series (Ultimate Nightmare) is well-paced and ends with a good fight scene in a Russian lab where the Vision is being kept. The second series (written by Millar of Ultimates fame) is more about the heroes facing off with an alien race called the Kree to get more info on Galactus. The Vision one shot gives more exposition. You see where this is going, right? The final third of the book (Ultimate Extinction) tries to cram waaaaaaay too much into too little space. We are told about a cult of suicidal types enthralled to a series of Silver Surfer style aliens but we never really see them. By the time an army of cloned Moondragons are attacking the Triskelion, I was almost interested. It is an awful lot of good build up for a rushed and (frankly) sloppy payoff. I would only recommend this if you are super into the Ultimate universe.
6) Y: The Last Man volume 8 Kimono Dragons- This series is great. I can't say enough good things about it. Vaughn captures characters and a narrative thrust that is undeniable. This is a series about a man and his pet monkey who wake up to discover that they are the last males alive on Earth. By this volume, our hero and his entourage of a secret agent, geneticist, Australian spy and two monkies make it to Japan where they must face a Yakuza run by a Britney Spears analog and their old ninja foe- Toyota. There are great plot twists and action scenes here plus a moment that made me laugh out loud ("Is she having one of my dreams?"). I cannot recommend this whole series enough, it is great.
I am currently reading Exit Wounds, Y: the Last Man volume 9, and The Losers volume 2. See you soon.
Josh
Thursday, June 4, 2009
The Decemberists in Concert 06/04/09
I'll have lots more comic reviews coming up but for right now I thought I would delve into the world of live music with my viewing of the Decemberists in Raleigh, NC.
Firstly, the opening act was Blind Pilot out of Portland, OR. They were really good. The band consisted of a singer/acoustic guitarist, an upright bass player, a uke/banjo player, a xylophone player, a drummer and a trumpet/accordion player. The vocals reminded me of Fleet Foxes (especially the tone of the lead singer and the melodies). The music was very dynamic with some songs building and others crashing to a quiet halt and then rocking again. I was surprised by how well they came across and I bought their album after the show.
On to the Decemberists. I was hesitant about seeing this show at first because my exposure to these guys is limited. I have their two major label albums but none of their indie stuff. Luckily, they played the new album all the way through in order for the first half of their set. With two female guest vocalists in costume and a recording to simulate the children's choir, the entire album was presented pretty much exactly as it was recorded. The female vocalists pulled double duty with tamborines, wind chimes and keyboards to help flesh out the five piece band's sound. The crowd went nuts for The Wanting Comes In Waves (one of my favorites from the new album) because of the Grace Slick style vocal work of...I didn't get her name. She is from a band called The Brightest Diamond. I felt bad for the other lady who sang the Margaret parts, no one went nuts for her.
Another highlight of the first half was The Rake's Song. I wondered how they would capture the bombast of the most rocking song on their new album. If you ever saw Radiohead do "There, There" live, you have an idea. With seven people on stage, five of them were playing drums and all of them were pounding out the punctuating beat at the same time. It was pretty powerful and fun to watch. In all, I still don't care for certain songs from the album (even live there are draggy sections) but, as a whole, it was very satisfying.
After an all Supertramp interlude over the PA, they came back out to delve into older songs. I made a deal with myself, I would stay for five songs and if they played nothing I knew, I was leaving. From the Crane Wife I was hoping to hear Yankee Bayonet, The Perfect Crime, Summersong, Sons & Daughter and (especially) O Valencia. They started with Leslie Ann Levine from Castaways and Cutoffs but the melody sounded a lot like something off the last couple of albums. I couldn't put my finger on it but it was sort of samey sounding. Next came The Bachelor and the Bride from Her Majesty. Again, it didn't really hook me in and I was beginning to worry they would avoid the Crane Wife. Next they played We Both Go Down Together from Picaresque, which got the crowd jazzed but did nothing for me. After that they played a song called Sleepless from a charity compilation. No one seemed to dig it too much. I was preparing to leave when they brought back out the female vocalist who did the part of the Forest Queen and sang Yankee Bayonet (finally!). This was a great rendition of a great song and I really enjoyed the slightly elongated ending. Settled back in I was not prepared for a 15 minute version of The Chimbley Sweep from Her Majesty. I had only heard the title before but I had to admit, that was a good, catchy song. During the song Melloy and Funk engage in a guitar dual with the spotlight shining on one then the other. As the rivalry gets more heated, Melloy pulled a girl up from the crowd and let her play his part on the acoustic guitar while Funk pulled a boy up on stage and got him to play the electric part. Both kids were pretty darn good. Eventually, the boy goes back into the crowd and it is Funk versus the girl. He eventually surrenders to her superior fire power and the contest ends with everyone happy. During all this, Melloy pulled another girl up to dance a jig with her. I thought these were really nice, touching moments between a band and their fans. Considering how static and rigid the first half was, this really humanized the band.
With the crowd still buzzing from that epic song, they launched into a great version of O Valencia! I was so pleased with the song I decided to leave because, honestly, it wasn't going to get better than that three song stint for me. As I stepped into the rainy, muggy night I was very pleased with how the evening turned out. I feel I got my money worth and the Decemberists put on a good show. I am interested to see how they incorporate songs from the new album into their live sets in the future without playing the whole thing as one piece. I may return to them some day.
Josh
Firstly, the opening act was Blind Pilot out of Portland, OR. They were really good. The band consisted of a singer/acoustic guitarist, an upright bass player, a uke/banjo player, a xylophone player, a drummer and a trumpet/accordion player. The vocals reminded me of Fleet Foxes (especially the tone of the lead singer and the melodies). The music was very dynamic with some songs building and others crashing to a quiet halt and then rocking again. I was surprised by how well they came across and I bought their album after the show.
On to the Decemberists. I was hesitant about seeing this show at first because my exposure to these guys is limited. I have their two major label albums but none of their indie stuff. Luckily, they played the new album all the way through in order for the first half of their set. With two female guest vocalists in costume and a recording to simulate the children's choir, the entire album was presented pretty much exactly as it was recorded. The female vocalists pulled double duty with tamborines, wind chimes and keyboards to help flesh out the five piece band's sound. The crowd went nuts for The Wanting Comes In Waves (one of my favorites from the new album) because of the Grace Slick style vocal work of...I didn't get her name. She is from a band called The Brightest Diamond. I felt bad for the other lady who sang the Margaret parts, no one went nuts for her.
Another highlight of the first half was The Rake's Song. I wondered how they would capture the bombast of the most rocking song on their new album. If you ever saw Radiohead do "There, There" live, you have an idea. With seven people on stage, five of them were playing drums and all of them were pounding out the punctuating beat at the same time. It was pretty powerful and fun to watch. In all, I still don't care for certain songs from the album (even live there are draggy sections) but, as a whole, it was very satisfying.
After an all Supertramp interlude over the PA, they came back out to delve into older songs. I made a deal with myself, I would stay for five songs and if they played nothing I knew, I was leaving. From the Crane Wife I was hoping to hear Yankee Bayonet, The Perfect Crime, Summersong, Sons & Daughter and (especially) O Valencia. They started with Leslie Ann Levine from Castaways and Cutoffs but the melody sounded a lot like something off the last couple of albums. I couldn't put my finger on it but it was sort of samey sounding. Next came The Bachelor and the Bride from Her Majesty. Again, it didn't really hook me in and I was beginning to worry they would avoid the Crane Wife. Next they played We Both Go Down Together from Picaresque, which got the crowd jazzed but did nothing for me. After that they played a song called Sleepless from a charity compilation. No one seemed to dig it too much. I was preparing to leave when they brought back out the female vocalist who did the part of the Forest Queen and sang Yankee Bayonet (finally!). This was a great rendition of a great song and I really enjoyed the slightly elongated ending. Settled back in I was not prepared for a 15 minute version of The Chimbley Sweep from Her Majesty. I had only heard the title before but I had to admit, that was a good, catchy song. During the song Melloy and Funk engage in a guitar dual with the spotlight shining on one then the other. As the rivalry gets more heated, Melloy pulled a girl up from the crowd and let her play his part on the acoustic guitar while Funk pulled a boy up on stage and got him to play the electric part. Both kids were pretty darn good. Eventually, the boy goes back into the crowd and it is Funk versus the girl. He eventually surrenders to her superior fire power and the contest ends with everyone happy. During all this, Melloy pulled another girl up to dance a jig with her. I thought these were really nice, touching moments between a band and their fans. Considering how static and rigid the first half was, this really humanized the band.
With the crowd still buzzing from that epic song, they launched into a great version of O Valencia! I was so pleased with the song I decided to leave because, honestly, it wasn't going to get better than that three song stint for me. As I stepped into the rainy, muggy night I was very pleased with how the evening turned out. I feel I got my money worth and the Decemberists put on a good show. I am interested to see how they incorporate songs from the new album into their live sets in the future without playing the whole thing as one piece. I may return to them some day.
Josh
Monday, May 25, 2009
I Kill Giants
Joe Kelly is best known to me as the guy who wrote "What's So Funny About Truth, Justice and the American Way" for a great issue of Action Comics. Out of that came Kelly's Justice League Elite and some okay super-hero comics. I have never read anything by him that has impressed me like his recently collected limited series "I Kill Giants."
The story is a pretty simple one, there is a middle school girl named Barbara who is picked on and left out because she loves Dungeons and Dragons. Also, she claims to kill giants. The comic this most closely reminds me of is the 90s series The Maxx. Barbara imagines little fairies and frightening harbingers of doom as common elements in her day to day life. As her acting out gets worse at school, Barbara befriends a new girl named Sofia who is sweet and open-minded. Perhaps because of a very similar development in Alex Robinson's Too Cool To Be Forgotten, the central mystery of the piece was pretty easy for me to figure out. The fun is in following Barbara's adventures and develoment as a journey rather than waiting for a big reveal.
If you like stories like The Fall or Radio Flyer, where kids use their imaginations to overcome adversity, I would recommend this trade.
Josh
The story is a pretty simple one, there is a middle school girl named Barbara who is picked on and left out because she loves Dungeons and Dragons. Also, she claims to kill giants. The comic this most closely reminds me of is the 90s series The Maxx. Barbara imagines little fairies and frightening harbingers of doom as common elements in her day to day life. As her acting out gets worse at school, Barbara befriends a new girl named Sofia who is sweet and open-minded. Perhaps because of a very similar development in Alex Robinson's Too Cool To Be Forgotten, the central mystery of the piece was pretty easy for me to figure out. The fun is in following Barbara's adventures and develoment as a journey rather than waiting for a big reveal.
If you like stories like The Fall or Radio Flyer, where kids use their imaginations to overcome adversity, I would recommend this trade.
Josh
Doubt & Quantum of Solace
I rented a whole bunch of stuff for my folks to watch with me this weekend. Frost/Nixon, Pineapple Express, The Wrestler and a couple of flicks I have never seen before. Here, now, are those...
1) Doubt- This and Milk were the two movies nominated for tons of Oscars that I never saw last year. I still haven't gotten around to Milk but this is a solid flick. Phillip Seymour Hoffman and Meryl Streep act the living shit out of this movie about a priest in the 1960s who may or may not be guilty of having an inappropriate relationship with the school's only black student. A young, naive nun played by Amy Adams is torn between the ideals of Streep and Hoffman. Her interactions with the two of them and their final showdown after Adams leaves carefully construct a mystery that doesn't really matter as much as the investigation itself.
This isn't flashy or action packed. This movie is a straight-ahead drama that is based on a play. Many of the scenes feel like a play as staged so, if you like lots of tight, short scenes with plenty of momentum this isn't for you. If, like me, you enjoy great acting, check it out. It really engages you as a viewer to bring your own prejudices and preconceptions out into the open in regards to sexism, organized religion, homosexuality, and racism. I understand why at least three of the main actors here were nominated for Oscars. Not a fun movie, but a good one.
2) Quantum of Solace- On the other end of the spectrum is the latest James Bond movie. Packed with action, this film picks up almost exactly where the last one left off. Bond is trying to uncover the power behind Le Chiffre from the first movie as well as get some answers about Vesper, his doomed love from Casino Royale. The plot is kind of like Chinatown when you step back and look at it, not that complex when you have everything laid out in order but a little hard to keep track of in regards to the way Bond gathers information. Fight scenes break out at random as little bits of info are doled out. Most of the characters from Casino Royale who didn't get gacked come back in this one. Continuity is sort of a new thing for Bond in my mind. I mean, Q and M and Felix Leiter would show up in plenty of movies but rarely did they say things like, "Man, remember when we fought that voodoo gangster guy? What was that all about?" These new Bond movies seem to be building a storyline of sorts (I could be totally wrong and this could be the last we hear of the Quantum group) and I find that interesting.
Action-wise, the first two chase/fight scenes are shot with black cars chasing each other and two white guys with dark suits involved. Add to this the quick cuts and jostling cameras and I had no clue who was shooting who, who was crashing what where and what, exactly, was happening. I never had that problem in Casino Royale and the Bourne movies. By the end of this one, the action gets easier to follow with distinct opponents in unique settings but I admit to being lost in the geography of a scene sometimes (which is a failure in editing as much as anything).
Otherwise, you know if you like seeing James Bond kill some folks and hop around the globe. This movie doesn't add much to the table (still no gadgets to speak of) but there is enough here to recommend it for action fans. I would strongly recommend you rewatch Casino Royale before seeing this. I only watched that one a few months ago and I had already forgotten little details in the plot that this movie assumes you already know. As the middle part in a Bond vs. Quantum trilogy, it works just fine.
Josh
1) Doubt- This and Milk were the two movies nominated for tons of Oscars that I never saw last year. I still haven't gotten around to Milk but this is a solid flick. Phillip Seymour Hoffman and Meryl Streep act the living shit out of this movie about a priest in the 1960s who may or may not be guilty of having an inappropriate relationship with the school's only black student. A young, naive nun played by Amy Adams is torn between the ideals of Streep and Hoffman. Her interactions with the two of them and their final showdown after Adams leaves carefully construct a mystery that doesn't really matter as much as the investigation itself.
This isn't flashy or action packed. This movie is a straight-ahead drama that is based on a play. Many of the scenes feel like a play as staged so, if you like lots of tight, short scenes with plenty of momentum this isn't for you. If, like me, you enjoy great acting, check it out. It really engages you as a viewer to bring your own prejudices and preconceptions out into the open in regards to sexism, organized religion, homosexuality, and racism. I understand why at least three of the main actors here were nominated for Oscars. Not a fun movie, but a good one.
2) Quantum of Solace- On the other end of the spectrum is the latest James Bond movie. Packed with action, this film picks up almost exactly where the last one left off. Bond is trying to uncover the power behind Le Chiffre from the first movie as well as get some answers about Vesper, his doomed love from Casino Royale. The plot is kind of like Chinatown when you step back and look at it, not that complex when you have everything laid out in order but a little hard to keep track of in regards to the way Bond gathers information. Fight scenes break out at random as little bits of info are doled out. Most of the characters from Casino Royale who didn't get gacked come back in this one. Continuity is sort of a new thing for Bond in my mind. I mean, Q and M and Felix Leiter would show up in plenty of movies but rarely did they say things like, "Man, remember when we fought that voodoo gangster guy? What was that all about?" These new Bond movies seem to be building a storyline of sorts (I could be totally wrong and this could be the last we hear of the Quantum group) and I find that interesting.
Action-wise, the first two chase/fight scenes are shot with black cars chasing each other and two white guys with dark suits involved. Add to this the quick cuts and jostling cameras and I had no clue who was shooting who, who was crashing what where and what, exactly, was happening. I never had that problem in Casino Royale and the Bourne movies. By the end of this one, the action gets easier to follow with distinct opponents in unique settings but I admit to being lost in the geography of a scene sometimes (which is a failure in editing as much as anything).
Otherwise, you know if you like seeing James Bond kill some folks and hop around the globe. This movie doesn't add much to the table (still no gadgets to speak of) but there is enough here to recommend it for action fans. I would strongly recommend you rewatch Casino Royale before seeing this. I only watched that one a few months ago and I had already forgotten little details in the plot that this movie assumes you already know. As the middle part in a Bond vs. Quantum trilogy, it works just fine.
Josh
Sunday, May 24, 2009
Like a town in Arizona rising from the ashe...wait...no
Ok, so I tried. I really did. I thought "all this constant writing about pop culture is just really getting out of hand." I really just have to embrace the fact that I love movies, music, comics, books and TV. If they are done right, they are great. I consume so much of it, I want to share it all with you people. Or, if no one reads this, at least I'll have the closest thing to a journal of how I spend my years.
Long time readers, welcome back. New readers, good to have you. Watch this space for some reviews soon...
Josh
Long time readers, welcome back. New readers, good to have you. Watch this space for some reviews soon...
Josh
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