Critical Outcast

New Movies and Box Office Predictions: 11/25

2009-11-25T03:15:00.000-05:00

This week's wide releases -
Ninja Assassin
Old Dogs
Fantastic Mr. Fox
The Road

First off, I hope you all have a great Thanksgiving and play it safe as you head out in the wee hours of Friday morning for those doorbusters. Allow me to suggest an alternative to long lines,, cranky cashiers, and out of stock items. Go to the movies! There are plenty of choices for the whole family and it can be a great activity for you to do as a group, and if you select the right movie, think about the potential conversations! I won't be going on Thursday, but the evenings before and after you will likely find me queueing up for something!

Ninja Assassin. (2009, 99 minutes, R, action) I saw someone describe this in a post-screening tweet as Enter the Dragon on meth. I have not seen it yet, but cannot believe it is anyone in the league of the Bruce Lee classic. That said, this looks like it is going to be an absolute blast of adrenaline. It stars Rain (whose has been rumored to be a potential lead for an Enter the Dragon remake) is Raizo, an orphan raised and trained as an assassin. However, when his friend is murdered, Raizo sets his sites on those responsible, the clan that raised him. I do not expect a terribly deep story, but I do expect wild action. Also featured in the film is 80's ninja legend Sho Kosugi! James McTeigue (V for Vendetta) directs.

Old Dogs. (2009, 88 minutes, PG, comedy) I look at this and I see very little of interest. Watered down Robin Williams and an aged pre-Pulp Fiction John Travolta team for a buddy comedy about kids, women, and their lot in life. Frankly, it all feels a little ho-hum, although I do like the gorilla bit with Seth Green. Old Dogs is from director Walt Becker who made a hit of Wild Hogs a few years back. That movie turned out to be rather charming, although I do not see the same here. Still, I am sure it will be fun enough for those who go. It will surely be far from the worst film you could see, although we can always continue to hope for better from the two leads.

Fantastic Mr. Fox. (2009, 87 minutes, PG, animated comedy) I cannot be said to be a fan of Wes Anderson. Maybe I just don't "get" his films,
but while they are certainly interesting on some levels, I just generally don't care for them. However, I am really looking forward to this one. It has a wonderfully bizarre and original look with fun characters. It just really looks like a unique experience. It is based on a book by Roald Dahl (Charlie and the Chocolate Factory) and tells the story of a fox who lives a nice life with his wife and son. However, he puts his family and friends in danger when he returns to his old thieving ways. This sets up a conflict between the animal community and a trio of nasty farmers. The voice cast includes George Clooney, Meryl Streep, Jason Schwartzman, Owen Wilson, Bill Murray, and Willem Dafoe.

The Road. (2009, 119 minutes, R, drama/thriller) I have heard this story (by Cormac McCarthy, author of No Country for Old Men) and film are both beyond bleak. I wonder if that is part of the reason it took so long to come out? I believe this was originally slated for release last year, but kept getting pushed back and pushed back again. It is finally here, albeit in somewhat limited form. It tells the story of a father and son who try to keep hope of civilization alive as they walk the road in a post-apocalyptic landscape. Viggo Mortensen, Robert Duvall, Guy Pearce, Garrett Dillahunt, and Charlize Theron star for director John Hillcoat (The Proposition).

Also opening this week, but not near me:

Me and Orson Welles
The Princess and the Frog
The Private Lives of Pippa Lee

Box Office Predictions
New Moon dominated its debut weekend on its way to one of the biggest of all time and there is little doubt it will handily win its second weekend, possibly bolstered by the holiday weekend and repeat viewings from the hardcore fans. Second will undoubtedly go to Old Dogs, the Williams/Travolta buddy comedy. The rest will likely be bunched up around the middle. If there is one film I would like to see do well this weekend it's The Road. The post-apocalyptic thriller is not likely to crack the top ten, but I am really looking forward to it and would like to see it succeed (if only based on my hopes).

Here is how I think it could play out for the 3-day weekend.

Rank	Title	Box Office
1	The Twilight Saga: New Moon	$51 million
2	Old Dogs	$32 million
3	The Blindside	$21 million
4	2012	$14 million
5	Ninja Assassin	$12.5 million
6	Precious	$11.75 million
7	A Christmas Carol 3D	$10 million
8	Fantastic Mr. Fox	$9.5 million
9	Planet 51	$8 million
10	The Men Who Stare At Goats	$2 million

W.A.S.P. - Babylon

2009-11-24T19:00:00.000-05:00

W.A.S.P. is a band I have only had a passing affiliation with over the years. I never listened to them much in their heyday. I am not sure why this was, they certainly have a sound and swagger that is right up my alley. I did have a copy of The Headless Children that I was quite fond of, but that is as far as it went. Years later, 2005 as a matter of fact, I saw them headline a bill of metal acts that included Stephen Pearcy (of Ratt), LA Guns, and Metal Church. That was an insane show that saw frontman Blackie Lawless still performing like he did back in the day. A couple of years later they released the excellent Dominator album, proving that W.A.S.P. is still a relevant force. Now Blackie and company have a new album, Babylon, which delivers another dose of metal and hard rock.

As I began listening to Babylon, I was hoping to recapture some of that Dominator power. Sadly, those feelings were not there. The deeper into the album I got, I kept waiting for that one song that would push Babylon over the edge into that fist in the air, sneer on the face feeling I got from Dominator and when I go back to some of those Headless Children cuts. It never came. I did feel like they were going to do it with "Babylon's Burning" and "Thunder Red," but did not quite make it.

Now, don't get me wrong. Babylon is a solid album that you should be happy to get your hands on. It is solid effort from start to finish, with nary a stinker in the bunch. I guess its biggest problem is consistency. The production is solid, everything is crisp, clear, and begs to be cranked up. Plus, there is still no band that sounds like them. Despite the revolving door of supporting cast that Blackie has surrounded himself with, the band's sound has always stayed strong. Not only that, but while Blackie Lawless does not quite have the range that he had back in the 80's and 90's, he still has that instantly recognizable style. No one can sing like he can. Just listen to that classic waver. Fantastic.

The album kicks off with "Crazy," a good opener that is sure to bring "Wildchild" to mind. That is followed up by "Live to Die Another Day." This song has a good galloping drama to it, broken up by a nice solo in the middle. This leads directly into "Babylon's Burning," one of the better tunes on the album.

The fourth track is the first of two cover tracks. Here, Blackie and his team have put their stamp on Deep Purple's "Burn." They almost make it sound like a W.A.S.P. original! They turn the amps to eleven and charge their way through it like only they know how. Frankly, it took me a moment to recognize it.

Much like Dominator, my favorite song is the big ballad-type track. On the earlier album it was "Heaven Hung in Black," here it is "Into the Fire." Blackie has a way of bringing high drama to these types of songs. His voice sounds so pained with a bed of anger. It is a feat that I am unsure how he is able to do it. He draws you in with the dramatic music and that unique voice. It is always about the voice.

The album then moves back the high energy with "Thunder Red" and the galloping rock and roll of "Seas of Fire" before taking a soft left and a hard right to finish us off.

First is the second ballad of the album, "Godless Run." This is another song that has Blackie letting loose the high drama that his voice has a knack for as he sings a song that strikes me as very personal. It almost sounds like he is reflecting on the journey of life that has led him here.

For a complete change of pace, Babylon closes with a cover of Chuck Berry's "Promised Land." I am at a loss for words. It sounds cool as hell but seems to make little sense in context of the album or the band as a whole.

Before signing off, I must recognize the effort of the rest of the band. Mike Duda keeps things moving with his straightforward bass work. Mike Dupke is the man behind the kit and while he is not spectacular, turns in good work that will keep your head rocking to the beat. Now, the man of the hour is lead guitarist Doug Blair. The man really cuts loose with some rip roaring solos throughout. Great stuff.

Bottomline. W.A.S.P. may not be the first name on your lips when your looking for some rock and roll, but they are still here and delivering good music. This album shows their skills are not diminishing. Blackie leads the rock and roll charge and I suspect he will be lurking around the edges for many years to come.

Recommended.

Box Office Update 11/20-11/22: New Moon Destoys the Box Office

2009-11-24T06:45:00.000-05:00

Absolutely unbelievable. Wow. That is all I can say. Who in their right mind would have predicted such a gigantic opening? I certainly couldn't. I knew it would be big, heck, I am pretty sure we all knew that. The phenomenon that was Twilight has become a juggernaut with The Twilight Saga: New Moon. The first suspicion I had that it would be bigger than expected was when the local 16 screen theater has 13 screens sold out for the midnight show. Yes, you read that right. Speaking to friends who work there, it was a mad house with the line wrapped around the theater, out the doors into the mall, out of the mall and into the parking lot and on down towards the far end of said all. It all seems pretty unreal. To think I was impressed by the long lines I saw inside when I went to see Pirate Radio Friday night.

The vampire teen romance film set a new record for midnight shows, taking in more than $23 million and besting The Dark Knight's $16.7 by a wide margin. It would end the day north of $72 million, again besting The Dark Knight's single day record of $67 million. I saw those numbers (or rather the pretty close estimates) on Saturday and was just in awe of what I saw. And considering my interest level, just a little disappointed that it was not a better overall received film. It would go on to finish the weekend with more than $142 million, making it the third biggest opening weekend of all time coming in behind Spider-Man 3 and The Dark Knight.

What is going to be interesting is to see what kind of legs it exhibits. It will likely do well through the Thanksgiving holiday, but what about after that? By that time I am sure all of the hardcore fans will have burned through their multiple viewings. The movie does not exactly have widespread appeal across the demographics, and with a good portion of the fanbase headed back to school, weekday numbers will suffer more so than they would during the summer. Something else to consider is how this will translate to the third film, slated to open next June.

Coming in second place, considerably stronger than I was expecting, is the inspirational drama The Blind Side starring Sandra Bullock and Quinton Aaron. It tells of a homeless teen taken in by a ell to do family which fosters his academic work and shepherds him as a football player. It is based on the life Baltimore Ravens draft pick Michael Oher. It is undoubtedly an inspirational, feel good sort of movie. The problem is that it does not really stand out to me. I am sure it would tug at the heart strings and I would leave feeling like I saw something special, but I doubt it would last long. Perhaps I am wrong and will be proven such when I eventually see it. For all of the generic things I have to say about it, you could certainly do worse at the cineplex.

Falling to third place, but still pulling nearly $30 million is Roland Emmerich's disasterpiece 2012. I saw this film, enjoyed it to an extent, but cannot say I am interested in seeing it again anytime soon. I actually think I prefer The Day After Tomorrow. This new one feels a bit bloated and unfocused, but the effects are spectacular.

Fourth place is another newcomer to the fold, Planet 51. It had a respectable open, taking in more than $12 million as it clawed its way past A Christmas Carol for its fourth place finish. I have not yet seen the animated film, but look forward to it. It looks like a fun throwback/twist on '50s era science fiction where the alien ships always landed on Earth.

The latter half of the chart does not contain all that much excitement aside from the continued success of Precious. It is slowly widening its release, gaining new fans everywhere it goes. I had the opportunity to see it this weekend, and it really is a special film. Moving, unsettling, yet with a strong sense of hope.

This week's releases will be here on Wednesday and include the Robin Williams/John Travolta comedy Old Dogs, which seems to be cut from the same cloth as Wild Hogs, which I found surprisingly effective. Old Dogs also features the last big screen appearance of Bernie Mac. Also arriving is the action film Ninja Assassin from James McTeigue and the Wachowski Brothers. In more limited release is the Viggo Mortensen starring post-apocalyptic thriller based on a Cormac McCarthy novel The Road.

Three films dropped off the list this week: Law Abiding Citizen (11), Paranormal Activity (13), and The Box (17).

This Week	Last Week	Title	Wknd Gross	Overall	Week in release
1	N	The Twilight Saga: New Moon	$142,839,137	$142,839,137	1
2	N	The Blind Side	$34,119,372	$34,119,372	1
3	1	2012	$26,410,206	$108,131,263	2
4	N	Planet 51	$12,286,129	$12,286,129	1
5	2	A Christmas Carol 3D	$12,275,024	$79,836,002	3
6	3	Precious	$10,881,772	$21,277,521	3
7	4	The Men Who Stare at Goats	$2,829,031	$27,680,089	3
8	7	Couples Retreat	$1,943,075	$104,992,030	7
9	6	The Fourth Kind	$1,747,085	$23,359,890	3
10	9	Michael Jackson's This Is It	$1,617,417	$70,258,545	4

Box Office Predictions Recap
All things considered, I don't think I did all that bad this week. Sure, I was way off on a certain hot new sequel, but would have thought? Seriously, I would never have predicted that kind of an opening. The rest of the list saw my generally spotty collection of predictions, all of which were generally close but not quite right. I can live with that. I like being close.

Here is how the field matched up:

Actual	Prediction	Title	Wknd Gross	Prediction
1	1	The Twilight Saga: New Moon	$142,839,137	$86 million
3	2	2012	$26,410,206	$33 million
2	3	The Blindside	$34,119,372	$15 million
5	4	A Christmas Carol 3D	$12,275,024	$13 million
4	5	Planet 51	$12,286,129	$12 million
6	6	Precious	$10,881,772	$10 million
7	7	The Men Who Stare at Goats	$2,829,031	$3 million
10	8	Michael Jackson's This Is It	$1,617,417	$2.5 million
8	9	Couples Retreat	$1,943,075	$2 million
13	10	Paranormal Activity	$1,401,112	$2 million

DVD Pick of the Week: I Bought a Vampire Motorcycle

2009-11-24T04:04:00.000-05:00

Welcome back! Well, to some of you, anyway. To the rest of you, glad you decided to stop by and I hope this humble column helps you navigate the stacks of new releases each week. My goal is to point you toward titles of interest and warn you away from those films that seek to do nothing but leech away your time and give you nothing in return.

Full disclosure: I have not seen many of these titles, and what follows are not necessarily reviews, but opinions based upon what I know of the titles I pluck from the new release lists I peruse. The opinions I give based on the new releases are my own, and my recommendations are based on my personal interest. In any case, I hope you enjoy and perhaps find something you like or a title to point me towards.

I Bought a Vampire Motorcycle. I know, odd choice for this week's pick right? Why would someone pick an obscure horror movie from 1989 when there are clearly better films to choose from? To tell you the truth, I am not sure. I think I just wanted to see that title in the subject line, I doubt it happens all that often for this title. The movie centers on a biker who is murdered by Hell's Angels while summoning a demon. The demon possesses the dead man's motorcycle that comes into the possession of a delivery boy. He quickly learns his new ride has a penchant for killing people. How can this not be fun? (it would probably be better if you don't answer that)

Funny People (also Blu-ray). This is a good movie, it is not as great as I had wanted it to be but it still shows growth in writer/director Judd Apatow. The film follows a fading comedic star who goes through a life-changing event and an up and coming comedian he confides in. It is surprisingly dramatic and is interesting in how we are taken inside their lives for awhile. The movie also features one of Adam Sandler's finest acting performances.

Angels & Demons (also Blu-ray). I do not plan on adding this to my collection. It will hold your attention and is a better film that The DaVinci Code. At the center of the film is the death of the Pope and drama surrounding the appointment of his successor. Tom Hanks as Dr. Langdon deduces things we have no idea about and spends a lot of time running around followed by long stretches of exposition.

Four Christmases (also Blu-ray). A married couple spend the Christmas holiday visiting their respective separated parents, in turn learning more about themselves and their family. It is not terribly funny or deep. Fortunately it is mercifully brief. The cast includes Vince Vaughan, Reese Witherspoon, Robert Duvall, Kristen Chenoweth, and Jon Favreau.

Gomorrah (Blu-ray). I have heard very good things about this film. It is an Italian film that takes us inside modern crime families. Could this be a new Godfather?

The Monster Squad (Blu-ray). Kid's who grew up in the 80's invariably have a soft spot for this movie. Kids band together to take on Dracula who has a plan to take over the world with the help of other classic monsters like Frankenstein's monster, the Mummy, the Wolfman, and Gillman. This should look good in high definition. I hope.

Frailty (Blu-ray). I remember loving this on the big screen, but it has been some time since I have seen it. Directed by and starring Bill Paxton, the film recounts a series of murders committed by a father of two boys in an effort to rid us of demons. This is a good and underrated film that will hopefully look nice on Blu-ray.

Shorts (also Blu-ray). Robert Rodriguez's latest family film was born of ideas he developed with his children. I have not yet seen it, but his films are always worth checking out. I love the way he moves back and forth between family films and the decidedly not family films.

Superman: The Complete Animated Series. Many are decrying this release due to the presence of double sided disks. While I would preferred it not be released this way, there is no denying how good the series is and it will be nice to have it all in one place. Now, it is not quite as good as the Batman series, but don't let that hold you back.

My Bloody Valentine (Blu-ray). The original film was released on DVD not all that long ago in a nice special edition that restored some of the deleted footage (while some of it appears lost to time). It has now been ported to high definition. I wonder how good it looks? I thought the DVD was pretty good and the film has old and low budget. We shall see.

New Police Story (Blu-ray). I have been wanting to see this for some time. Actually, I am pretty sure I have the DVD around here somewhere. This sees action star Jackie Chan return to Hong Kong to make a movie after a string of Hollywood features. It is also a loose sequel to the Police Story films of the 1980's and 1990's.

Ichii the Killer (Blu-ray). A Yakuza boss runs off with a lot of his boss's money. The Yakuza head then sends a sadomasochistic hit man after him. That barely scratches the surface of this bizarre Takashi Miike film. Definitely give this a spin i you like out there movies.

Precious - Based on the Novel "Push" by Sapphire

2009-11-23T22:31:00.000-05:00

Precious: Based on the Novel "Push" by Sapphire will be known throughout the rest of this review as Precious. I do not know anyone uses the entire clunky title. I understand the need for it to be recognized as being based off of the novel, but was there not a better way to go about it? The name change was necessitated by the recent film Push, which told the story of people endowed with special abilities which do not include being overweight and illiterate. Sure, you remember the Push, right? It wasn't all that bad. It is no Precious, but it is not all that bad.

Precious has been gathering quite the perfect storm around it as it steams into wide release. It seems like wherever it goes it receives rave reviews. The big question as I went into see it was whether or not it would live up to the hype. Now that the screening is over, I am happy to report that it does. This is a powerful and moving film that has deserved all of the attention it has gotten. It paints a very real, incredibly vivid portrait of dysfunctional life and the people who have to try to live with it.

Yes, the movie can be quite depressing, but there is an undercurrent throughout the entire film that colors the experience. Precious has a great deal of hope. Through all of the abuse and darkness, there is always that glimmer of hope, a ray of potential happiness shining through the gloom that makes the conclusion all the more better, dare I say hopeful?

At the center of our story is Claireece "Precious" Jones (Gabourey Sidibe). She is 16, overweight, illiterate, and pregnant for the second time by her own father. On top of that, school is a minefield of cruel kids that pile on the jokes and abuse and home is not that much better. Her mother, Mary (Mo'nique), continues the trend of abuse. Precious is physically, verbally, sexually, and emotionally tormented by her own mother.

I was surprised not to find anything saying "Based on a true story" anywhere in the opening or closing credits. The film feels as if it were ripped from someones life to be exposed to the world. Director Lee Daniels and screenwriter Geoffrey Fletcher have done something special here, they have put a story on the screen that is gritty, unflinching, yet still gives you that sense of hope while never swaying from reality, never becoming preachy. This is not an easy feat.

We are put right in the story next to Precious. She has been beaten down by life, pushed around, swallowed whole, and spat back out into the dirt. She goes about her life trying to just make it to the next day, not be noticed while she dreams of fame and stardom, walking the red carpet and being cheered by the masses. She also has fantasies of being a skinny white model type. So many societal problems are put on display that it is hard to know where to begin. Some will talk about racial discrepancies, others will speak on what it says about society. I am more interested in the people.

As strong as the screenplay is at capturing realistic dialogue and as good as the direction is at making an immersive experience, this is a movie whose overall ability to connect and affect an audience relies heavily on the performances. They deliver.

Gabourey Sidibe, known as Gabby to her friends, turns in a heartbreaking, gut wrenching debut performance that belies her inexperience. She completely embodies the defeated Precious. You cannot help but feel sorry for her. She goes through the best she can, trying to remain off the radar, still retaining that glimmer of hope. Gabby Sidibe is phenomenal here, she will affect you, whether you want her too or not.

Equally effective, but in a different way is Mo'nique. Her performance opens eyes. I am used to her being the sassy comedienne. Here the jokes are nowhere to be found, left behind is a woman who, like Precious, has been defeated by life. The distinct difference is how she processes this defeat, she turns it into anger and disgust and directs it at her daughter. It is a powerful performance that initially seems to be one dimensional, but the further you go, the more you realize there are other things at work.

The supporting cast is rounded out by excellent work from Paula Patton and Mariah Carey (yes, that Mariah Carey). Patton plays Ms. Rain, a teacher at an alternative school Precious attends after being expelled due to her pregnancy. It is a thankless role as it fills the need of having the inspirational teacher see beyond the gruff exterior. Still, she does it with grace and believability. Meanwhile, Mariah Carey has been de-glammed in her role as a social worker. She only has a couple of scenes, but she makes them count. She is restrained and emotional and really brings a certain balance to her scenes.

Bottomline. Precious is a movie that is going to be talked about for some time. From start to finish it is an incredible experience that plumbs the depths of abuse and the lives it destroys and still manages to have that thread of hope. Even better is that the hope is born organically out of the story and the characters and is not tacked in for a merely emotional payoff. Great film making and well deserving of the praise it has received.

Highly Recommended.

Pirate Radio

2009-11-22T22:22:00.000-05:00

When it comes right down to it, I am not really sure what the ultimate purpose is for this movies existence. It does not seem to aspire to any higher purpose. It does show some rebellion against the government, but it is not something that is explored all that deeply. For that matter, once it reaches its conclusion, it does not seem like a whole lot has been changed. Fortunately, this is a movie that does not need to climb any higher than it does. Pirate Radio exists to purely entertain its audience with some great music, a collection of colorful characters, and a tale of youthful rebellion of the past. Kids, pay attention, this could have been your parents forty years ago.

Pirate Radio, released as The Boat that Rocked in the UK, is a fictional tale based on truth. It does not go so far as to claim "based on a true story" or "inspired by actual events" but I think you get the point. This is more about evoking the emotions and feel of the era without slavishly attempting to recreate a story of the time. It is a much better approach, it allows for more freedom to deliver interesting characters. For this decision, I applaud writer/director Richard Curtis, a man who has shown an ability to juggle large casts, making sure they all get there due and that you actually care about them and their place within the story.

Let's set the stage, shall we? In the 1950's and well into the 1960's, BBC Radio played a mere 30 minutes of pop music. For some of that time it was illegal to play rock and roll. This has to be considered a travesty considering the wealth of rock and roll music at the time. Think about it, The Beatles, The Rolling Stones, The Who, Cream, The Kinks, the list goes on and it was not allowed on the radio. Certainly makes radio piracy seem like the right thing to do, right? To that end, rock and roll DJs took to the seas, broadcasting 24/7 from ships anchored in international waters off of coasts. There were a number of ships doing this and at any given point half of all the radios in the country were tuned to one of these ships, getting a nice dose of needed rock and roll.

Pirate Radio centers on the ship called Radio Rock (inspired by Radio Caroline, which still broadcasts, check iTunes radio under Alternative Rock). It is manned by an eclectic collection of DJs who each have their specified shifts and duties, be it rock, news, or comedy. They are a colorful cadre of stir crazy folks, cooped up on a ship for long stretches with no women on board (save for their lesbian cool). They go on air, do their subversive best to deliver what the people want and then return to their cramped quarters for a smoke.

Our entry into this story as an audience is Carl (Tom Sturridge), a teenager on summer holiday sent to spend time with his godfather who happens to be Quentin (Bill Nighy) the station manager. He is our wide-eyed vehicle into this wild world of rock and roll, alcohol, drugs, and the biweekly sex-visits by fangirls from the mainland.

Now, there really is not much of a story to be found. Pirate Radio is not so much about telling these guys story as it is allowing us into their lives. There is something very organic in the way we move around the ship, into and out of the lives of the various DJs. It is a lot of fun, so much so that I would not have minded spending more time with any of them.

Of course we do need a villain. To satisfy that requirement and give the idea of plot, we have scenes with Sir Alastair Dormandy (Kenneth Branagh). He is an uptight hater of rock and roll who does all that he can to outlaw pirate radio and silence their broadcasts for good. He and his tireless assistant Mr. Twatt (Jack Davenport). Their scenes are shot in washed out colors that are devoid of life and in stark contrast to the brightly colored Radio Rock where everything is alive.

The cast is filled with actors who deliver fun performances. Among them are Philip Seymour Hoffman as the Count, an American DJ who is one of their most popular personalities, and Nick Frost (Shaun of the Dead, Hot Fuzz) as the Dave, a man with voracious, umm, appetites, and Rhys Ifans as the hottest DJ around, Gavin. All of their personalities add to the tapestry that is Radio Rock.

Richard Curtis does a fine job of making this movie about the characters than about anything else. He juggles the large cast with skill, taking us onto the ship and into their lives. He presents them in such a way that we begin to care about them and don't care so much about plot. It is a movie crafted around rock and roll and entertainment above all else. I doubt he wanted anything more than to have you leave the theater with a smile on your face.

Bottomline. It is not the greatest film, but it is one that will make you smile. It will remind you about just how much great music came out of the 1960s. This is movie that should be seen if for nothing else than the good feelings it brings up.

Recommended.

The Gathering - West Pole

2009-11-22T15:18:00.000-05:00

The Gathering is an interesting band. I was first introduced to them in the late 1990's. They were signed to Century Media records, a label that was fast becoming one of my favorites with its impressive roster of metal bands. Then there was The Gathering, a band that is decidedly not metal. Still, there they were, appearing on the labels low cost samplers called Identity, an annual series collecting singles from a number of their bands marketed as a cheap way to get a hold of some new music. There nestled The Gathering among the likes of Iced Earth, Moonspell, Arch Enemy, Rotting Christ, Emperor, Katatonia, and Nevermore. To say they stood out like a sore thumb with their lush melodic arrangements and soaring female vocals would be an understatement.

I was initially attracted to their sound. I picked up their fifth album, How to measure a planet?. I liked it, but it did not turn out to be an album I would listen too all that much and I never did pick up any more of their albums, until know. I was given the opportunity to give the band's latest, West Pole, a spin and I decided to revisit them. After all, it has been a long time and my tastes have grown and changed a lot since my initial exposure.

Upon first listen, I have to say this is a really good album. There is something about the composition and song structure that is absolutely beautiful. The songs are simple and sparse, yet complex and lush. It is something that you need to hear. Now, for as good as it is it should be said that this is no masterpiece, no musical landmark that will change the way you listen to anything going forward. The crux of the matter is that what it does, it does well. The music may be a little to the laid back side, but there seems to be a drive to deliver a memorable experience. In this respect, The Gathering succeeds.

While I am not terribly familiar with the band, it is pretty clear they had a huge hurdle to get over in the creation of The West Pole. Two years ago, vocalist and face of the band, Anneke Van Giersbergen, left to explore other musical destinations. This left the band with a large hole to fill. Eventually the vocalist position was filled by Silje Wergeland. She has a voice that fits the band like a glove while also being distinctly different from her predecessor.

The band made an interesting decision when they lined up the song order. Considering the change of such an important element of their music, you would think they would want to get the anticipation out of the way and begin with a vocal track, perhaps something like "Treasure." Well, this did not happen. Instead, The West Pole opens with "When Trust Becomes Sound," a near four minute instrumental with a strong groove and an open, indie-rock feel.

Was it the best choice? I could not say. I will say that I like it. I would not recommend this route to everyone, but it works very well here. The open sound and the groove lure you in, gently nodding your head. Then the album proper begins with "Treasure" and you get to hear what the new voice of the band sounds like. It is good.

I have no idea what my future with The Gathering will be, but I suspect that I will revisit this album from time to time. It is distinctly not metal, but it has a great laid back aura that provides a full soundscape to sit back and be enveloped by.

Regardless of your experience, or lack thereof, with The Gathering, do yourself a favor and give this a spin. You may be surprised by what you find.

Recommended.

Drag Me to Hell - Music Composed by Christopher Young

2009-11-21T09:03:00.000-05:00

Earlier this year we all got to see Sam Raimi return to his roots. The man got his start with horror films in the 1980's. Films that hold up to this day and have legions of fans. The the latter half of the 1990's and the better part of this decade we saw Raimi get away from those roots, mainly with a trio of Spider-Man films. Rest assured, he still has the skills to ratchet back his blockbuster excesses and focus them into an old-school horror film that delivers the goods. While Raimi did a great job helming the feature, one must recognize the role played by music in the film. In this case it is the work of Christopher Young that must be recognized.

It is interesting to look back over Christopher Young's many credits and see a pattern similar to that of Sam Raimi, although not quite as drastic. Young has been closely tied to horror throughout his career, which in the 1990's and early part of this decade saw him work in other genres on notable films only to come back to the genre that appears to be dearest to his heart.

Look at his early work on films such as The Dorm that Dripped Blood, A Nightmare on Elm Street 2: Freddy's Revenge, Trick or Treat, and Hellraiser. This gives way to the likes of The Man Who Knew Too Little, Rounders, The Country Bears, and this year's The Informers. However, he never became completely divorced from the genre, see The Grudge, The Uninvited, and of course Drag Me To Hell.

It is at this point that I wish I was more familiar with his catalog. Sadly, the only other score of his that I have given any real time to has been The Informers, which is a decent score saddled by an awful movie. By contrast there is likely a lot of work that will look better when next to that one. Fortunately, what we have in Drag Me to Hell is an absolutely fantastic score that only works to enhance a blast of a movie. Beyond that, the score is a lot of fun to listen to on its own with its great use of melody, returning themes, soft passages, and thunderous crescendos.

Much like Raimi and his style of horror movie-making, Christopher Young takes his music to the edge of the abyss and then gleefully kicks it over the edge into a frightening darkness where it is all right to be over the top. The score for Drag Me to Hell is unabashedly in your face and is not afraid to grab you by the ears and stare you dead in the eye to make sure you are paying attention. There have been times when I have listened to this late at night where I have begun to doze off only to be ripped back to consciousness by a big musical sting in the middle of a lull.

That's right, the score has infamous musical stings throughout. You know, the moments where they want you to jump so they ramp up the volume and speed to make you jump. It is funny, seeing how effective they are when separated from the feature. They never feel gratuitous and perfectly blend in with the rest of the score.

Drag Me to Hell is filled with somber violin solos, big choral pieces, Gothic bombast, and not a little bit of restrained sweetness. The music covers a wide range of range of emotions while never letting you escape from its grasp.

What really helps the score come together is that one main theme piece that is introduced in the first track, "Drag Me to Hell." It is initially played by a solo violin with a full orchestra behind it, but it appears throughout the score and played on a variety of instruments. It is a great theme that sticks with you throughout.

The score is so strong that I have a hard time picking out cues to focus on. They are all so good and the score is so beautiful as a whole that I am not sure I should be bother.

It is a good thing I rarely listen to myself. Here are a few cues to focus in on: "Mexican Devil Disaster," "Tales of a Haunted Banker," "Lamia," "Ode to Ganush," "Auto-Da-Fe," and "Concerto to Hell." Seriously though, just put it on and press play.

Bottomline. This is one of the best scores I have listened to in awhile. Christopher Young has crafted a career highlight. So what if I am not so familiar with his catalog, just listen to this, it is fantastic!

Highly Recommended.

Track Listing:

* Drag Me To Hell (2:33)
* Mexican Devil Disaster (4:33)
* Tale of a Haunted Banker (1:52)
* Lamia (4:06)
* Black Rainbows (3:24)
* Ode to Ganush (2:23)
* Familiar Familiars (2:11)
* Loose Teeth (6:31)
* Ordeal by Corpse (4:35)
* Bealing Bells With Trumpet (5:12)
* Brick Dogs a la Carte (1:46)
* Buddled Brain Strain (2:51)
* Auto-Da-Fe (4:31)
* Concerto to Hell (5:59)

New Movies and Box Office Predictions: 11/20

2009-11-20T03:19:00.000-05:00

This week's wide releases -
The Blind Side
Planet 51
The Twilight Saga: New Moon
Precious

Where to start, where to start. You know there is only going to be one title on the lips of the masses this weekend. No, it is not going to be The Blind Side, so stop being silly. New Moon opens this weekend and it is sure to do insane business. Frankly, I doubt it matters much if the movie is even halfway decent. In any case, I will be avoiding that one this weekend and look to the other offerings, which include inspirational dramas and animated science fiction.

The Blind Side. (2009, 126 minutes, PG-13, drama) Based on a true story, The Blind Side tells the story of a poor black teen and the rich white woman who saves him. I know, it sounds rather cliched, but the cast looks solid and if it doesn't come across as too preachy it could be worthwhile. Still, it strikes me as a typical inspirational story intended to manipulate the audiences emotions so they leave feeling like they have seen something important. Of course, I do hope that it turns out to be better than that. The cast includes Sandra Bullock, Tim McGraw, Kathy Bates, and Quinton Aaron.

Planet 51. (2009, 91 minutes, PG, animation/science fiction/comedy) This actually looks like fun. I am hoping that it pays off more on the whole than Monsters Vs. Aliens, which had moments, but as a whole was not so good. The idea behind this one has an astronaut landing on an alien world only to discover a thriving community where he is the alien. Voice cast includes Dwayne Johnson, Justin Long, Jessica Biel, Gary Oldman, Seann William Scott, and John Cleese.

The Twilght Saga: New Moon. (2009, 121 minutes, PG-13, teen supernatural romance) The phenomenon rolls on. The first movie arrived this time last year to mediocre critical acclaim and massive popular response. The sequel is here with a bigger cast, bigger budget, a new director, and an insane amount of hype. This second feature sees Bella (Kristen Stewart) delve deeper into the supernatural world as vampire and werewolves fight around her. Frankly, I am not all that interested in the movie, and I think that may be more due to the fanatical fanbase than anything the movie may and not do. That said, the first movie is not all that good. I am also not sure how much I really want to write about it. It is going to be a monster, I can tell that just by looking locally, where my favorite theater has 13 sold out midnight shows! To the fans, I hope you love it.

Precious. (2009, 109 minutes, R, drama) Speaking of inspirational dramas, this one looks like it was executed near perfectly. Of course, it does not hurt to have Oscar buzz swirling around you wherever you turn. The film centers on Claireece Jones, a 16 year old, pregnant by her father, abused by her mother, and struggling in school. The story follows her on her journey from the abused girl to the empowered woman. It has a gritty, real feel to it that I am looking forward to seeing. Gabourey ''Gabby'' Sidibe plays the lead role along side Mo'nique, Paula Patton, and Mariah Carey.

Also opening this week, but not near me:

Bad Lieutenant: Port of Call New Orleans
Broken Embraces
Fix
Kurbaan
Red Cliff

Box Office Predictions
2012 was expected to open big and it was. This week sees the opening of a film that will likely be even bigger. The Twilight Saga: New Moon is here and is selling out shows across the nation. There is no doubt that it will win the weekend. The big questions are how high will it go and will it be able to have any legs to carry it through the holidays. The rest of the list? Who cares. Second will be 2012. The rest will be fighting for space in the latter half of the list.

Here is how I think it could play out.

Rank	Title	Box Office
1	The Twilight Saga: New Moon	$86 million
2	2012	$33 million
3	The Blindside	$15 million
4	A Christmas Carol 3D	$13 million
5	Planet 51	$12 million
6	Precious	$10 million
7	The Men Who Stare at Goats	$3 million
8	Michael Jackson's This Is It	$2.5 million
9	Couples Retreat	$2 million
10	Paranormal Activity	$2 million

2012

2009-11-18T22:53:00.001-05:00

Roland Emmerich has quite the destructive pedigree under his belt. He beat up the planet with aliens in Independence Day. He took a few shots at New York City in Godzilla (1998). He then fired his warning shots across the bow of the planet with The Day After Tomorrow. I guess he felt a little bad, as Emmerich took us back in time for a rebuilding of sorts in 10,000 BC. Now he gives us his definitive attack on the planet Earth with 2012. Believe me, no one is safe, least of all the audience.

Emmerich is one of those directors who can do a lot of things well. Unfortunately, there is an equal number of things that he does not do so well. He is a very similar film maker to Michael Bay. Both of these men know how to craft an over the top spectacle that will wow the eyes and dull the brain. Therein lies the problem with many of his films. While the effects are always first rate, while the visual splendor is more than enough to draw you in, is ability to craft characters and create compelling stories falls flat.

Can I be considered a fan? Sure, I guess so. Like a lot of people, I can be a sucker for a cool scene or a wild ride. However, I also like a little substance to go along with it. In the case of 2012, for as destruction-laden as it is, it lacked that emotional core required to bring along for the ride. Well all right, it was able to keep my attention for the entire, if slightly bloated, ride but it could not make me care for the people.

2012 is based on a mash up of Mayan science and Western cultural interpretations. The current Mayan calendar cycle is set to end on the equivalent of December 21, 2012. It has come to be a possible date for an apocalypse of sorts, the end of the world as we know it. In fact, it is merely the end of a calendar cycle. Yes, there is other information that could lead to a variety of interpretations, but what it ultimately comes down to is a some real world information being twisted into one possibility and fictionally dosed into a film whose primary ambition is to entertain. Way to take the intelligence of others and dumb down for the sake of a movie.

I would love to be able to speak on the truth behind the calendar's importance or what else it may mean, but I am scarcely qualified to speak on it. Instead, let's take a look at how successful this film is as the the date is merely a tool to allow Emmerich and his team take the world down a notch or two.

Early on the film sets up strange happenings around the globe, discovered by a government geologist, Adrian Helmsley (Chiwetel Ejiofor), along with an Indian friend. They recognize the world is going to end in a cataclysmic even in 2012 (this takes place in the present). We speed through the next few years getting glimpses of government meetings and secret plans before slowing down again in 2012. This is where the fun begins.

For the everyman, we get Jackson Curtis (John Cusack). He is a divorced writer who misses his family and dislikes his ex's new beau. He is also the first man outside of the government to realize that something big is happening. Well, first outside a crazy talk radio host who is broadcasting from Yellowstone.

What follows is Curtis with his extended family and Russian employer in tow, attempting to outrun the crumbling world behind them. We also get to see arguments among the rich and powerful and the government officials as they discuss possibilities for being saved. Toss these sequences in a blender, add in a healthy dose of other random non-essential characters, top with special effects and mix well. Serves as many as will by a ticket.

2012 runs north of two and a half hours, with a good chunk of that running time devoted to destruction of as many landmarks as possible. It does not matter if they directly affect any of you characters or not, wreck it all! Yes, the movie excels at that. I cannot say enough how cool it was seeing all that stuff crumble crack, fall, and explode.

I could probably ramble on the effects for awhile longer, but why bother? You know how it goes. Things fall down and the crowd gasps in delight. Our characters have a series of near escapes and the crowd gasps with joy. Our heroes live to see another day and the crowd cheers. What? I spoiled it? Come on now, this is a big Hollywood blockbuster disaster movie, it is all rather predictable from the moment you hear of it. Frankly, if you saw Emmerich's The Day After Tomorrow you saw this.

The problem with the story is focus. It is all over the place. They could have cut a number of side characters to tighten it up a little bit, maybe even cut down on the government stuff. Haven't we already seen that before? What I would have liked is a story that focused on a small group trying to survive. Guess what? In the midst of cinematic bloat we have that! John Cusack and his cadre would have been perfect to center everything around. Take away the extra characters, government stuff, and extraneous destruction and you could cut the running time down while tightening up the whole project and making it easier to relate to and emotionally involving at the same time. Potentially.

The movie is fun and exciting, there is no denying that. Was I expecting a masterpiece? No, not at all. I essentially got what I was expecting, which is a visual extravaganza with some melodrama to string it along.

One day, perhaps, we will get that disaster movie that gets the character portion right. While this may be the best looking one ever made, it is not likely to be remembered as a classic aside from home theater junkies who are destined to pull it out to show off their systems.

Bottomline. Go see it. Don't let anyone stop you. It is an entertaining movie that benefits from the big screen experience. Just do not be surprised if you do not find yourself really caring about anyone outside of the emotionally manipulative surface. I am not really sure anyone has ever done as thorough a job of destroying the world as has been done here.

I am also curious to see if the proposed sequel-by-way-of-television series gets off the ground. I think I could be down for checking it out.

Recommended.

Logan's Run

2009-11-18T05:43:00.000-05:00

When I was one year and one month old Logan's Run was released to theaters. Why is that important? It isn't really, but it does place me in time with relation to when this movie was state of the art with groundbreaking effects (which actually won the film an Oscar). I was first introduced to the film sometime during the 1990's, I forget exactly when, but I was fascinated by it. The story was interesting, the characters fascinating, and look, well, distinctly 1970's. However, it has been some years since my last viewing. What does this mean? Simple, I do not recall many details of the film. The closest I have come is noticing similarities in Michael Bay's The Island, which actually more closely resembles another 70's film, Clonus: The Parts Horror.

As I watch Logan's Run now in 2009, the film does appear dated. The opening models to the sparse set design, to any number of things, the look has not aged all that well. On top of that, the story, while interesting and nuanced, seems a lot thinner on the surface than I recall. Still, there is something about that is hypnotic, engrossing, and it is still very easily watchable. The tale is a timeless one, despite the look it brings a lot to the table and is quite easy to relate to. I could easily imagine a situation along these lines coming to fruition in the future. Besides, it is not like they set their future time to be the year 2000, the film is set in 2274, meaning it is still possible for this potential to develop into a reality.

In any case, this future society is set up in a fashion that should be familiar to just about anyone. Everyone wheres the same type of outfits, with colors signifying their place within society and they live in a great domed city. It is quite Utopian and everyone seems to be happy, without a care in the world. The one catch is that once you reach thirty you are required to go to Carousel for something called renewal. Set up something like the Roman Coliseum, the thirty-year-olds enter the arena where they float up into the air where they burst into flames and are gone. The thought is that since there is limited space in the dome, when someone is born, someone must be removed. Renewal symbolizes rebirth as those who burst into flames will come back as a newborn.

The conflict arises from the existence of an underground group of people who question renewal and the need to remain within the city and are guardians . The computerized city security network of the city wishes to discover what this "sanctuary" is and destroy it. To that end... wait, I am getting ahead of myself. Plus, I am not sure just how much I should tell you. I mean, the movie is more than three decades old, but if you have yet to experience it, better be through the unfolding of the plot rather than through my clumsy description.

Before we move on, you should meet a couple of the characters. Our main character is Logan, played by Michael York. Logan is a Sandman, a police-type figure charged with stopping those who attempt to escape Carousel, called runners. Logan is charged with discovering the so-called sanctuary without telling anyone what he is up to. He finds himself with Jessica (Jenny Agutter), whom he believes to be key to attaining his goal. They bring us along on their journey to the outside, allowing us to become a part of their lives for a time.

The cast along with director Michael Anderson do a fine job of presenting a believable world with characters who live and grow over the course of the film. There are a number of interesting levels that come out during the course of the story. There is the personal relationship between Logan and Jessica, between Logan and his Sandman partner Francis, the conflict over what sanctuary was, the thought of living past 30, and so much more. It is a film that does not delve nearly as deeply as it could, yet still offers enough depth to reward multiple viewings and allow the viewer to read more into the tale what they want.

Logan's Run is definitely a movie to be seen. There is something about the balance between ignorance and wonder that it has that makes it a classic. As soon as you press play, you will be drawn into this other world where questioning your surroundings is not a part of the culture. It is like watching someone emerge from a deep sleep where the person is trapped deep within their mind before returning to the real world and the wonders it holds.

Audio/Video. Presented in 2.35:1 widescreen, Logan's Run appears to be the best it has ever looked. Well, the best t has looked since its theatrical bow. That said, it does show its age. There is a good deal of film grain and it is not nearly as picture perfect gorgeous as other disks I have seen, but do not let that get you down. The transfer may have grain and betray its age, but it does not lose any detail, in fact there is enough detail to allow you to see the seams of the effects. It is well worth the trip.

Audio is Dolby Digital TruHD and it is a solid track that represents its source well. Like the video, it does come across as a bit aged, but it is always crisp and clear. The soundtrack sounds quite good and the dialogue is nicely centered.

Extras. There is nothing new here, it brings the meager offerings of past DVDs forward to this new release.

Commentary. The track is with star Michael York, director Michael Anderson, and costume designer Bill Thomas. It is quite interesting with each of the three bringing details of the shoot and the production to the table. Although, it appears to be cobbled together from separate interviews, they are clearly not in the same room. I also believe the interviews were recorded sometime in the 1990s.
A Look into the 23rd Century. This brief featurette first appeared on the laserdisk and takes a look at the films production and futuristic setting.
Trailer. The original clip used to get you in the theater.

Bottomline. It may not be the greatest science fiction film of all time, but it is one that certainly deserves respect. It sits at the line of deep film and popcorn munching fun. It has a large scope and interesting performances that are deceptive in their depth. If you haven't seen it, this is your chance. If you are a fan, this is the best it has ever looked.

Recommended.

A Christmas Carol 3D

2009-11-17T09:58:00.001-05:00

Another version of A Christmas Carol? Is there a reason I should get excited about this or a reason to just care one way or the other? I mean it is not like we are not already born knowing this story and it is not like I cannot find another version readily available. With that said, there is still something about the Charles Dickens' story that is awfully inviting. I guess that is way so many people want to try their hand at it. Robert Zemeckis is no different, he has set his sights on the perennial holiday tale and attempted to put his stamp on it.

You know, I am not sure I have ever read the source story, but I feel as if I must have. Beyond that, my most memorable memories of the story come with fictional characters attached. Specifically, Mickey's Christmas Carol and A Muppet Christmas Carol are my strongest experiences with the story, although I have seen the 1951 incarnation with Alastair Sim as Scrooge, as well. The Sim version is the one that is most often cited as the finest version, standing above the myriad incarnations that appeared before and since.

This new Robert Zemeckis version is the twentieth to be filmed, and that does not count all of the television versions (and let us not forget the radio adaptations). Considering how many there are, I am sure there are more than a few of you who have already decided to skip this one. Seriously, who needs another one? Well, let me tell you that while we probably don't need another, they will continue to come, and this one is not half bad. As a matter of fact, it is quite good.

This version felt a lot more accurate and true to the source than I was expecting. When you consider that Jim Carrey was cast as Scrooge and the family might of Disney is putting up the funds, on would have to believe they were going to go for a family-friendly, comedic tone. They didn't. Frankly, there are some scary moments, creepy elements, and an overall darker tone than I was expecting and I was glad for it. While A Christmas Carol is an uplifting type of tale, it has a very strong cautionary element that seems to be played down in many of the versions I have seen.

The movie opens with the opening of the Dickens text and a zoom through the opening sentence: "Marley was dead: to begin with." Emphasis on the word "dead." This was the first sign that this was going to be different. The second sign was the lingering on the dead body of Marley in his wooden coffin as Scrooge haggles price with the undertaker. The third sign is the use of old English style dialogue. These things taken together all contribute to the fresh feel of this film.

I will not give you the plot rundown, we all know about the visits of the three ghosts and the importance of their message. I will say that the scenes shown to good old Ebenezer had more emotional resonance than I was expecting. It has to do with the darker approach to the material. Scrooge is not a nice guy, but you learn a lot about him along the way.

There is something else that struck me about the film. I think it was Jim Carrey in promotional material who said this is one of the greatest ghost stories of all time. Funny thing is that I never looked at this as a ghost story. There is no doubt that it is, but I always saw it as a Christmas movie first. This slight tweak to my thought process opened up a whole new aspect to the film. It was almost like seeing it for the first time.

How about the performances? They are all fine. Jim Carrey does a good job embodying Scrooge at various ages and demeanors. He was recognizable, but restrained and it worked. He also steps into the roles of the ghosts. The Ghost of Christmas Past is a creepy little candle with a habit of flickering his flaming head while wearing a persistent creepy grin. The Ghost of Christmas Present is a big, jolly fellow who has a regal air about him. The supporting cast includes Gary Oldman, Colin Firth, Robin Wright-Penn, and Cary Elwes. Them and others all turn in fine work bringing this to life.

When looking at this film one must not forget Robert Zemeckis who directed and wrote the adaptation. He seems intent on bringing live action and animation together, as seen in his previous two films (Polar Express and Beowulf). His work with motion capture technology is to be applauded and it keeps getting better. A Christmas Carol is the most polished look yet. His characters feel almost real, not quite bridging the uncanny valley but he is trying.

Beyond that, he knows how to use 3D to great effect. It is often like looking through a window. There is depth and volume to the creations and very little in the way of gimmicky "gotcha" moments of things trying to poke you in the eye. 3D may not be the future, but when used properly with reason and restraint it can be an effective tool in the film maker's toolbox.

In addition to the motion capture work, Robert Zemeckis brings a lot of style to the film. His characters zoom freely across the screen yet sill have weight to them. The design of the city is finely detailed. There is even a throwback to one his own live action films (once you see it, you will know what it is).

I left the theater knowing that I liked it. As I sit here writing about it that like is growing into more of a love. You see, Zemeckis is not afraid to take chances, and he took a few with this one, from the darkness, to the scares, to the dialogue. In my eyes everything paid off. Is the film necessary? Ultimately no, but so what. It is a classic tale destined to be told and retold.

Bottomline. It may have been released a bit too soon in the season to be most effective, but there is no denying that it is a very good film. I was drawn in to the style, affected by the emotion, and caught up in the spectacle. This is well worth seeing, although I would hesitate bringing younger children, as there are some frightening moments.

Recommended.

DVD Pick of the Week: Star Trek (2009)

2009-11-17T04:12:00.000-05:00

Welcome back! Well, to some of you, anyway. To the rest of you, glad you decided to stop by and I hope this humble column helps you navigate the stacks of new releases each week. My goal is to point you toward titles of interest and warn you away from those films that seek to do nothing but leech away your time and give you nothing in return.

Full disclosure: I have not seen many of these titles, and what follows are not necessarily reviews, but opinions based upon what I know of the titles I pluck from the new release lists I peruse. The opinions I give based on the new releases are my own, and my recommendations are based on my personal interest. In any case, I hope you enjoy and perhaps find something you like or a title to point me towards.

Star Trek (2009)(also Blu-ray). Despite the fact that a number of this weeks challenges made a play for the top pick, the ultimate winner was an easy choice. Star Trek exceeded all of my expectations and delivered an absolutely fantastic cinematic experience. I saw it three times on the big screen and look forward to watching many more times on Blu-ray. Director JJ Abrams successfully updated the series without trying to erase our memories of the original. The casting is strong, the story interesting, and the pace is fast. It does not matter if you are a Trek fan or not, the movie is an absolute joy and not to be missed.

Fight Club (Blu-ray). It has been a long time coming, but it is finally here. David Fincher's film was a bust on the big screen, but has gathered quite the following on a variety of home video formats. It is now arriving in high definition and will hopefully look pretty darn good. It has been some time since I have seen the movie, but it is a great film with a gritty look and a kicker of an ending. Look forward to checking out this release.

Gone with the Wind (Ultimate Collector's Edition Blu-ray). The latest classic to receive the big box treatment. It looks to be similar to the recent Wizard of Oz release. I cannot say I have ever been a big fan of the film, but it certainly has earned its place in history. Since I already own that big DVD release, I will pass on this release.

Farscape: The Complete Series. The series will also be released as individual seasons. This was a contender for the top pick spot, but although it lost, it still holds a special place in my heart. Farscape is, hands down, one of my all time favorite television shows. The show takes a cues from Buck Rogers as it centers on an astronaut lost in space. In this case he is on the other side of the universe, caught in a war and immediately becoming a fugitive. It has action, drama, thrills, comedy, romance, a little bit of everything. On top of that, it was a co-production with the Henson Company and involved great use of muppetry.

Leon the Professional (Blu-ray). Another new arrival on Blu-ray is an early Luc Besson helmed classic. This is a solid action film that has a story worth investing in and characters to care about. At the center is the relationship between a hit man and a young girl whose lost her family. The cast includes Jean Reno, Gary Oldman, and Natalie Portman in her first big screen appearance.

My Sister's Keeper (also Blu-ray).Manipulative? Check. Melodramatic? Check. Emotionally suspect? Check. Characters you want to comfort? Check. Characters you want to strangle? Check. Surprisingly effective? Check and check. This may have been better suited for the Hallmark channel, but it is still an effective film. It has some science fiction elements with a family essentially growing a child for parts and follows through into drama as the family begins to crumble under the strain of their decisions.

Galaxy Quest (Blu-ray). This may be the best thing Tim Allen has ever been involved in. It seems to have sprung from the old SNL skit where William Shatner told Trek fans to get a life. An alien race in trouble comes to the crew of a fictional television show to aid them in their battle. This is a fun movie that I really need to revisit. The cast also includes Alan Rickman and Sigourney Weaver. I also suspect it is not an accident that this arrives the same day as Star Trek (2009).

Bruno (also Blu-ray). Funnier than Borat? I think not. This film is interesting as Sacha Baron Cohen goes the extra mile to draw out a reaction. If nothing else, the man is brave and is trying things that no one else is. The problem is this time around it is more of an uncomfortable humor and makes me wonder if his brand of comedy has an expiration date.

Thirst. Chan Wook-Park is a fascinating film maker. I have seen four of his films and they have all been wonderful, with an increasingly fascinating look and a depth to match. This new film sees a failed experiment turn a man of the cloth into a vampire. I have not yet seen it, but the footage I have seen is quite interesting. I look forward to getting my hands on this.

Kevin Smith Box Set (Clerks, Chasing Amy, Jay and Silent Bob Strike Back) (Blu-ray). These films will also be available separately. I love these movies, although I am not sure how much they will benefit from HD. I mean, it is not like they are effects-laden films. Still, if you do not have them, these are fun movies.

Andy Barker, PI: The Complete Series. It is a shame that none of Andy Richter's series caught on. They have generally been quite good and Richter is a funny fellow. This one has him working as a part time investigator out of a strip mall. It did not last long. May be worth picking up.

Is Anybody There? (also Blu-ray). If you want to see an acting clinic, watch this and witness the work put in by Michael Caine. Caine plays a magician who moves into a group home for the elderly, where he strikes up a relationship with a young boy who is preoccupied with death., It really is quite good and deserves to be seen.

Franklyn (also Blu-ray). I remember seeing the trailer for this some time ago and really wanting to see it. It tells a story with a split narrative between modern day London and a future city and focuses on four people on a collision course. Yes, I know that is not much, but I do not want much detail. It does star Eva Green and has a guy in a cool looking mask.

Samurai Princess. The cover for this looks pretty cool and it is from the minds behind Machine Girl and Tokyo Gore Police, so it has that going for it. It centers on a young woman who is the only survivor of a group of woman who are attacked and raped. She turns herself into an android to go out and have her revenge. From what I understand the story is slight but the blood is plenty.

Box Office Update 11/13-11/15: 2012 Destroys All Comers

2009-11-16T23:23:00.000-05:00

Roland Emmerich's big disaster film made a killing this weekend. $65 million in its opening weekend is a pretty nice open. When you factor in the $170 million it took in internationally, 2012 has already made back its production budget and is headed on its way to a healthy take at the box office. AS for the film itself? Well, Let's just say it has the sizzle but it lacks the steak. That is, the effects are phenomenal, I cannot think of a slicker looking disaster flick. The problem lies with the story and the characters, there is nothing you have not seen before. A little tweaking could have made this a tight disaster flick for the ages rather than a bloated special effects reel.

Coming in a distant second, but still well ahead of the rest of the field is last week's top winner, A Christmas Carol 3D. Here is a film that probably would have benefited from an opening closer to Christmas, but that's what happens when you go 3D and December is already locked up by a highly anticipated blockbuster. That said, the reception has been lukewarm compared to expectations. I suspect it will make a good chunk of its production budget back little by little over the next few years in home video sales. That said, I enjoyed the film. I liked that it did not try to dumb things down, that it used the old English manner of speaking, that Robert Zemeckis continues to experiment with motion capture, and that Jim Carrey remained in control of himself for the most part. It is an enjoyable holiday film that deserves to be seen.

Third place finds an upstart in our midst. Precious has jumped from twelfth to third while only playing at 174 screens. Its opening is reminiscent of Paranormal Activity. I have not yet seen the film, but it looks like a powerful and moving experience. It has been gathering quite a buzz around it and seems poised to become this year's Slumdog Millionaire.

The rest of the top ten does not contain much in the way of big stories, but it is interesting to see how bunched up they all are. I guess the happiest news is seeing Paranormal Activity cross the century mark. Think of it as the little horror film that could. Sure, the films ratings will be right down the middle, but for those who loved it, this has to be seen as something of a victory.

Next week will see the arrival of the Twilght sequel New Moon. That flick will surely dominate next week's box office chart, unless something surprising happens and we all realize the vociferous fans are merely a vocal minority. Elsewhere along the way will be Sandra Bullock's inspirational tale The Blindside, which is based on a true story. Finally, we will also see the animated Planet 51, which features the voices of Dwayne Johnson, Justin Long, and Jessica Biel.

Two films dropped off the list this week: Where the Wild Things Are (12) and Astro Boy (13).

This Week	Last Week	Title	Wknd Gross	Overall	Week in release
1	N	2012	$65,237,614	$65,237,614	1
2	1	A Christmas Carol 3D	$22,308,913	$63,272,757	2
3	12	Precious	$5,874,628	$8,699,180	2
4	3	The Men Who Stare at Goats	$5,861,753	$23,038,050	2
5	2	Michael Jackson's This Is It	$5,078,920	$67,190,296	3
6	4	The Fourth Kind	$4,605,365	$20,449,660	2
7	7	Couples Retreat	$4,164,940	$102,045,330	6
8	5	Paranormal Activity	$4,043,417	$103,690,184	8
9	8	Law Abiding Citizen	$3,796,327	$67,190,452	5
10	6	The Box	$3,158,368	$13,179,622	2

Box Office Predictions Recap
I have had better rounds of guesstimation, but considering how close I was on both sides down most of the list I am not all that upset. I guess the biggest surprise shouldn't really be a surprise at all. I did not suspect that 2012 would open so big. I know, silly me. I am most amused at how everything seems to bunch up after the top two. There is a little over $2.5 million separating second from tenth. How about that?

Here is how the field matched up:

Actual	Prediction	Title	Wknd Gross	Prediction
1	1	2012	$65,237,614	$52 million
2	2	A Christmas Carol 3D	$22,308,913	$21 million
5	3	Michael Jackson's This Is It	$5,078,920	$7.5 million
4	4	The Men Who Stare at Goats	$5,861,753	$7 million
6	5	The Fourth Kind	$4,605,365	$6 million
3	6	Precious	$5,874,628	$5 million
8	7	Paranormal Activity	$4,043,417	$4 million
11	8	Pirate Radio	$2,904,380	$3.5 million
7	9	Couples Retreat	$4,164,940	$3 million
9	10	Law Abiding Citizen	$3,796,327	$2.5 million

The Fourth Kind

2009-11-16T10:30:00.000-05:00

The First Kind: Sighting. The Second Kind: Evidence. The Third Kind: Contact. The Fourth Kind: Abduction.

The Fourth Kind takes us one step past Steven Spielberg's Close Encounters of the Third Kind. Spielberg took us as far as contact. Writer/director Olatunde Osunsanmi takes us past mere contact with alien life and purports to show us actual abduction by an alien intelligence. It wants you to believe it is real. Actually, the success partially hinges on the belief that this is absolute truth. So, be sure not to do any looking before seeing the film.

A quick search of the web will reveal that The Fourth Kind is a hoax. No matter what the advertising will have you believe, no matter what the film shows you, it is not real. The stories are familiar and I am sure you have heard them all before. The bigger question is what camp do you find yourself in. Are you a believer? A non-believer? Perhaps a skeptic? Depending on where you land will play a big part in how much entertainment you derive from this film.

Me? I fall nearest to skeptic. I do not doubt that there is other intelligent life in the universe. What I do doubt is if we have actually been visited. I mean, I would suspect that if we were to be visited by intelligent alien life they would either revel themselves differently, or at the very least to different people. But that is neither here nor there, as it does not affect the effectiveness of this film in my eyes. I suspect that if you are a believer, you will drawn right in, while the non-believer will find the proceedings laughable. However, if you are a movie fan, the entire exercise should prove to be interesting.

The film is presented as a pseudo-documentary fashion, going so far as to say that everything is real and can be backed up by archive footage. What follows is a film that chronicles the events that occurred in Nome, Alaska, earlier this decade. We often get to see both the re-enacted footage featuring Milla Jovovich as Dr. Abigail Tyler and the "real" footage side by side to further enforce the reality of the portrayed events.

What exactly is going on in Nome? Well, a disturbing number of people are waking up in the dead of night to find an owl staring at them through their window. This fact intrigues Dr. Tyler and she investigates further, possibly uncovering alien abductions. The more she digs, the deeper she goes, the stranger things become. Her patients experience mental breaks and bizarre physical effects of her work. Seizures, speaking in tongues, murder, and levitation all occur under her watch. This things draw the attention of the town sheriff (played by Will Patton) and a concerned colleague (played by Elias Koteas). Not only that, we also bring in a fellow doctor who is familiar with the Sumerian language (played by Hakeem Kae-Kazim). Granted, all of their names have been changed to protect those involved.

All of Tyler's efforts to uncover the truth gain the attention of the alien beings that have been tormenting her patients and things begin happening to her. Things that she has experienced but cannot be explained. Things that are not to be believed by anyone.

So, the premise is that Tyler is being interviewed by the director for this feature, Olatunde Osunsanmi. She is opening up about the experience and sharing her archival footage. The interviews and footage are combined with recreations to paint a vivid picture of alien visitation and abduction. Why is Tyler so invested in this beyond a professional interest? It is her personal continued involvement in the event.

Overall, it is pretty interesting. The film is constructed in compelling fashion, although the presentation also gives away the fact that it is indeed not real. Thin about it a little. If it was real, would it be released as a horror film? It may be billed as being real, but it is never presented as a documentary. If it is real why not any more present day interviews with anyone involved? Yes, this is explained, but I am sure there is someone they could have gotten. If it were real, why show archival and recreation footage simultaneously? That seems to be counter-productive.

Now, take away the reality of the situation and watch it as a fictional film. On this level it works well enough. We are drawn in using a variety of tricks, including the personal introduction by Milla Jovovich. While the recreated and archival footage playing a the same time is counterproductive to believing it is actually real, it is presented in an engrossing fashion with split and quad-screen presentation with moving bars, changing the size of the various sections and pulling your eye around the screen. It is rather interesting way to show the footage and it worked.

Bottomline. In the end, the movie itself is decent. The hoax factor does hurt it in the long run, but it is an interesting film that tries something new with the first person/found footage genre that has found a certain level of popularity over the past few years. I cannot say it has much replay value, but there is no denying that with the right state of mind, this could seem to be compelling.

Mildly Recommended.

The Box

2009-11-15T18:18:00.000-05:00

I can tell, Richard Kelly is going to be one of those film makers whose voice is endlessly fascinating but is always destined to fly somewhat under the radar. In a way, I could see his path being similar to that of David Fincher. Yes, very different film makers, but individuals with very distinctive cinematic visions that are destined to have mediocre theatrical runs followed by strong a strong home video market. Richard Kelly only has three features under his belt, but each one has and will continue to provide endless discussion. His latest is no exception. The film is called The Box and it is either as complex or as simple as you want it to be. It really depends on how much time you to give it, the more viewings, the more that will become apparent.

The Box is based on a short story by Richard Matheson called Button, Button. The story has previously been adapted to the small screen, during the 1980's run of The Twilight Zone. On top of that, if Matheson's name sounds somewhat familiar, you may have come across it with I Am Legend as he also wrote that original story. Anyway, Button, Button was originally published back in 1970 and is a really short tale that focuses on a couple who are made an offer that could have grave implications. Now, nearly four decades later we see another version of the story, one that has been expanded in scope yet still retains what made the original story so interesting to begin with.

The story is an interesting morality tale. It offers up a simple what if premise. You are given a simple choice. Well, you are given what initially appears to be a simple choice. The problem is that once you make said decision, things get that much more complicated. Why? There are two ways to explain the complications. You could say the movie requires it for length and the script goes on to provide it, or you say that the complications are born organically from through the thought processes of the characters involved. The first option is boring and typical, while the second allows you to go off in new directions once the first decision is made.

The Box builds itself off of simple options and simple decisions leading to complex ramifications. I am not about to go into all aspects of the story, suffice to say there is much to think about and mull over, particularly if you revisit the film a number of times. The more you watch, the more complexity will be revealed and with that revelation the possibility of greater understanding of the big picture. Having only watched the film once, I do not believe I am qualified to even scratch at much of the complexities. Fortunately, complete understanding is not required to be drawn into this movie. On this matter I certain I can speak. The Box is an engrossing film that will hold your attention from start to finish, holding you with simple understanding of the tale and leaving you with thoughts of what else may be going on.

Just think about the proposition made. You are given a box with a button on top and told that if you press the button two things will happen: 1. Someone, who you do not know, will die and 2. You will receive a payment of $1 million. Would you do it? Glancing around the message boards the answer is overwhelmingly "yes." Frankly, I am not surprised by this. The problem is that I should be. The idea of causing the death of someone else should at least give you pause. It is not something to be taken lightly. Sure, that is a lot of money, but we are talking about a life here.

Anyway, that is the initial crux of the film upon which everything else is hung. A choice is turned into something much more, something that will test the limits of a family. The family in question is the Lewis family, Norma (Cameron Diaz), Arthur (James Marsden), and their son Walter (Sam Oz Stone). Norma and Arthur agonize over the decision, but once the decision is made bigger things begin to happen.

The Box is the sort of film that give any meaningful discussion to specific plot points would be to give away important pieces of the puzzle. This is a film that relies heavily on its plot. Without its plot, without its secrets, without its surprises, it falls apart. Far be it for me to allow that to happen.

The performances help anchor the at times preposterous tale. Cameron Diaz and James Marsden work well together as they agonize over the decision and attempt to deal with what happens next. Their performances are generally understated, and it works especially as they ramp up towards the end. While they are good, it is Frank Langella as Arlington Steward is charismatic and creepy in his role as the man behind the box. His presence is quite unsettling.

As for Richard Kelly? I am pretty sure you know what I think about him. After his auspicious debut with Donnie Darko and his intriguing mess Southland Tales, Kelly has delivered his most polished film to date. He definitely has an eye for the screen. His composition always offers something interesting while the pacing is slow enough to let it sink in and fast enough to keep boredom from setting in. He is getting closer to striking a balance between visionary and accessible. Where will he go next?

Bottomline. This is not going to be a movie for everybody. I suspect many will look at it and right it off because it is weird. This is something it should be embraced for. If nothing else, Kelly provides a film that is off the beaten path, does not follow formula, and takes chances. The Box should be applauded, even if you don't like it.

Recommended.

The Music of Star Trek Performed by the City of Prague Philharmonic Orchestra

2009-11-14T16:56:00.000-05:00

I am a Star Trek fan and have been for long as I can remember. I as not alive for the original series, but I remember watching it on reruns and renting VHS tapes from the local video store, I remember my father taking me see Star Trek II: The Wrath of Kahn on the big screen, the first one seen at the cinemas. I could not be termed a Trekkie or a Trekker, I do not believe I am that devoted, but I always make sure to watch the show and see the films when I can. However, there is something else that Trek is notable for in my development as an entertainment fan. The music. The theme is memorable, catchy, and helped make score music stand out for me, along with the likes of Star Wars, Superman, and Indiana Jones. That appreciation and love for the music makes this CD very enjoyable. It is something of a greatest hits compilation for the series. On top of that, there are slight differences of interpretation in these recordings, played by an orchestra other than the original and conducted by different artists.

The album is comprised of sixteen tracks, covering all eleven feature films and five television series (the animated series is excluded). The organization is chronological, first leading us through the features followed by the television series. The selections are heavily weighted towards closing credits, with seven of eleven feature selections being the close, which makes sense as that is where the main theme and motifs of the film are generally revisited. This mans we get to hear the classic theme many times throughout with slight variations as they ultimately breakdown into the other themes. It is also interesting to fully comprehend the impact that James Horner had on the entire series, in addition to writing the new theme for the original film, that would go on to be the the theme for The Next Generation.

I cannot say I have heard any music I have known to come from the City of Prague Philharmonic, although I am sure that I have. They are certainly a collection of world class musicians with their A-game on display. If you listen closely, you will notice that none of the music sounds just like the soundtrack, although I would be hard pressed to tell you exactly where. It is more of a feel thing. Listening is great, and I really enjoy this release, not having any of the other score releases (well, except for Michael Giacchino's for the new Star Trek). The one definite example of something sounding different is the theme for the original television show, that has been rearranged considerably in this setting, and to be clear, that is not a bad thing.

This music covers a wide range of emotions. There is a blend of fervent action, heartfelt sweetness, and everything in between. While the music does span a wide range of sounds, is it is one thing it is not subtle. This music is big, bombastic, and wants you to know it is there. Once you press play, you will be taken on a journey though the history of the franchise and all it has to offer. You will hear the development of the theme, and the different elements that composers have brought.

Highlights of this collection include:

Star Trek - The Motion Picture "End Titles" by Jerry Goldsmith: This track gives you the now classic theme that has lived on in various versions through everything that would come after it.
Star Trek II - The Wrath of Kahn "End Titles" by James Horner: This may be my favorite on the disk. There is something huge and heroic to the themes here, it soars high and carries with it the hopes of the fans who had just witnessed the death of a beloved character.
Star Trek IV - The Voyage Home "End Titles" by Leonard Rosenman: This film closes with a selection that fits in perfectly. It is different, yet captures a different voice in a film that achieved the main stream success not seen in most of the others.
Star Trek VI - The Undiscovered Country "End Titles" by Cliff Eidelman: This film plays out like a finale of sorts, which it was as we would never see the entire original cast together again. The music reflects a certain finality over the closing credits.
Star Trek - First Contact "End Titles" by Jerry Goldsmith: The first full feature with the Next Generation cast closes with a track that brings the shows theme to life in a big way before settling down to revisit other key passages from the film.
Star Trek "Hella Bar/Enterprising Young Man" by Michael Giacchino: This is a wonderful score and this track demonstrates a new voice on the landscape, while the Goldsmith/Horner influence of earlier films still shines through. It nicely captures the past while having its eyes firmly set on the future.
Star Trek TV theme by Alexander Courage: To make this work for an orchestra, it had to be adapted, and it works very nicely here.

Bottomline. If you are a Trek fan, you will want to get your hands on this. If you like film music, but aren't necessarily a fan of Trek, you will want to check this out, the music is very good. Of course, I would like to get some of the full scores, but as far as collections go, this one is very good.

Highly Recommended.

New Movies and Box Office Predictions: 11/13

2009-11-13T04:27:00.001-05:00

This week's wide releases -
2012
Pirate Radio

As we start drawing closer to Oscar season, not to mention Thanksgiving and Christmas, I think it is only natural to have a little bit of a lull. This weekend would appear to be it. It is not about the size of the movie, but the quantity of them and their relative Oscar chances. I think it is safe to say this week's new releases have equal Oscar chances, despite their comparative box office potential. I still look forward to both of them. How about you? Are this week's offerings up your alley? Or are you waiting for some more meatier fare?

2012. (2009, 158 minutes, PG-13, thriller) This film is Roland Emmerich's latest attempt at destroying the known world takes its cue from the Mayan calendar, which ends in December of 2012. This follows John Cusack as he and his loved ones attempt to survive the end of the world. Sounds rather final doesn't it? Don't worry, they are already shopping a sequel, a television series that chronicles what happens after the end of the world. Now, I am not really expecting that much from it, but no one wrecks the world like Roland. The effects look rather spectacular and I hope that it pays off on the big screen. What worries me the most is this run time that goes past the two and a half hour mark. Is that not a bit excessive? I hope it doesn't feel boring.

Pirate Radio. (2009, 115 minutes, R, comedy/drama) I really wish they had kept the original title, it sounds more fun and I just like it. The original title was The Boat That Rocked and I believe that is how it was released in the UK. The movie was written and directed by Richard Curtis (Love, Actually) and tells the true story of how rock and roll was banned from the radio and the American DJ who challenged the law and set up shop on a tanker with a group of like minded souls. The trailers look like a lot of fun and the cast is solid. The cast includes Philip Seymour Hoffman, Bill Nighy, Rhys Ifans, Nick Frost, and Kenneth Branagh.

Also opening this week, but not near me:

The Fantastic Mr. Fox
Uncertainty
Women in Trouble

Box Office Predictions
2012 is expected to be big. They have to justify that $150 million budget, you know. I do not doubt that will be the big winner with A Christmas Carol coming in a relatively distant second. The question about 2012 is just how high will it go? That is the big question. I am sure the long run time wont help it. As for the week's other wide release? Probably won't make much of a dent, despite the fact it looks pretty good.

Here is how I think it could play out.

Rank	Title	Box Office
1	2012	$52 million
2	A Christmas Carol 3D	$21 million
3	Michael Jackson's This Is It	$7.5 million
4	The Men Who Stare at Goats	$7 million
5	The Fourth Kind	$6 million
6	Precious	$5 million
7	Paranormal Activity	$4 million
8	Pirate Radio	$3.5 million
9	Couples Retreat	$3 million
10	Law Abiding Citizen	$2.5 million

Blood - The Last Vampire

2009-11-12T06:20:00.005-05:00

Blood: The Last Vampire sets its sights on logic and restraint and promptly obliterate them with stupidity and bombast. I mean that in the best possible way. There is no way that the creative team looked at this movie and thought they were making anything good. Then again, it is possible that director Chris Nahon recognized fairly early on what type of movie this was and decided to infuse it with as much craziness as he could. That is likely to be the reason for the way this movie is the way that it is. It fits squarely within the definition of "guilty pleasure." This is the kind of movie you put on for a diversion, something to take you on a wild wide. If you like schoolgirls with samurai swords and gangs of bloodsuckers with the barest of background information, this is it

Based on an anime released back in 2000, Blood: The Last Vampire tells the story of a centuries old half-vampire who works with a mysterious Council to kill demons that have infested Japan. This particular part of her tale finds her embedded on an American military base that has shown a high amount of demon activity. Our hero, Saya (Gianna), poses as a student to gain access to the base and before you know it, she is saving the General's daughter, Alice (Allison Miller), killing demon students and roaming the streets looking for more.

Now, while the mysterious Council is dead set on stopping the demon menace, Saya has a smaller, more focused goal. Saya wants to kill the head demon, Onigen (Koyuki). To that end, she will not let anything get in her way. Along this path we see flashbacks to Saya's childhood, her training and the important events that led her to be in this position. However, they are mere speed bumps on the very linear path the story takes.

There scenes whose presence is purely for exposition. We are told some back story about Onigen, the demons, and Saya. What we do not get are the smaller details that bring everything together. Now, if the movie had taken itself seriously, this would be an issue. Fortunately, this is the kind of movie that strings together a thin plot as a means to get us from one action set piece to the next.

Blood: The Last Vampire is not about the epic tale of the eternal fight Saya wages on the demons. It is not about the origins of the Council or what their ulterior movies may be. All it is about are stylish, low-budget action sequences and the semblance of a big story.

It makes no bones about what it is. It has modest aspirations when it comes to actual quality. However, if all you want is a blast of action that is sure to make you smile, it fits the bill rather nicely. I sat there loving every sword-swinging moment.

The actors all perform their lines with utter seriousness. You would expect them to be delivered with perhaps a hint of irony, considering the film they are in. Oh no, this is all deadly serious and it only adds to the fun. Just watch Gianna strike a pose, or Allison Miller flash some seriously crazy eyes, or Liam Cunningham (as Councilman Michael) offer sincere words of encouragement. Even better, we get Yasuaki Kurata as Kato, an elderly martial arts master who raised Saya after the death of her parents always with intelligent words for his young student. You cannot rightfully have a movie like this without an elderly master, right

Now, with character and story aside, all you really need to focus on is the action. It is fun, wild, creative at moments, and pretty much non-stop. Besides the constant flashes of swordplay, be on the lookout for CG blood. Every swing of the blade, hammer blow, or whatever other weapons are handy, is accompanied with a splash of incredibly fake blood. At first I was annoyed by how much it stood out, but then I found it to be endearing. The fights are a blast, particularly the one where Saya is protecting Alice in the alley against the never ending gang of demons. Fun stuff.

Director Chris Nahon (Kiss of the Dragon) knows his way around action movies and while he cannot be called a visionary, he always makes sure not to be boring. To that end, he has enlisted the help of veteran action director Corey Yuen (Transporter) to handle the choreography. Together they make a fun action film that is memorable for its overall absurdity.

Audio/Video. The film is presented in its original aspect ratio of 2.35:1 and looks pretty good. It is not exactly the sharpest looking film and a lot of it is rather dark, but it still contains a good amount of detail an does not exhibit and digital artifacts or other noticeable flaws. Even during the fast paces action sequences, I may have lost character orientation but I did feel I lost any detail.

The audio track is Dolby Digital 5.1 and sounds pretty good. The surrounds are not overly active, but successfully draw you in, particularly during the fight sequences. The dialogue is centered and always clear. Overall, it is a good track that does its job without necessarily distinguishing itself.

Extras.

The Making of Blood: The Last Vampire. This featurette runs just over nineteen-minutes and includes a decent amount of interview and behind the scenes footage.
Battling Demons: Behind the Stunts. Nearly seventeen-minutes are devoted to the stunts. Why not? The stunts and action are a big part of the film, there certainly is enough of it here! Mixed with some interview footage, we get on the set and training footage for both martial arts and wire work.
Previews. Trailers are included for the Blood+, Dark Country, Hardwired, Moon, Blu-ray Disc, District 9, Assassination of a High School President, The Informers, The Sky Crawlers, REC, Messengers 2: The Scarecrow, Underworld: Rise of the Lycans, Resident Evil: Degeneration, Rise: Blood Hunter, and Fearnet.com.

Bottomline. This is a fun movie, no question about it. Is it a good movie? That is a highly debatable fact. It is more about what you want out of it. Not every movie is made for greatness, some are made just to be fun. This is one of those movies. There is certainly enough to flesh out into something bigger, but I found myself not caring. I just wanted a little fun.

Recommended.

Skeletonwitch - Breathing the Fire

2009-11-11T06:28:00.001-05:00

Listening to the latest (and my first) from Ohio-based metallers Skeletonwitch is like putting on that worn out, but comfortable shirt that you wore proudly for years. It may not look like much, but it still feels great and brings with it memories of years past. It recalls those school years where I would sit on the school bus with an old school Walkman and blast the Metallica, Slayer, Suicidal Tendencies, and Ozzy Osbourne. When music was aggressive, in your face, and more or less did not care about what the other guys were doing. It was an uncompromising era and Skeletonwitch does a good job of delivering music heavily influenced by that era while still standing on its own two feet.

Skeletonwitch is one of the bands in the growing sub genre of retro-thrash bands alongside the likes of Municipal Waste, Toxic Holocaust, and Warbringer. They are bands that are bringing back the sound and style of the 80's, but mixing it with modern influences and taking advantage of modern production techniques.

Skeletonwitch stands out in the way they have that 80's thrash down pat, but bring in some sounds that would be more at home in the black metal arena. So yes, this album could potentially be placed in the blackened thrash camp, I think it would be more appropriate to allow it to remain in the thrash corner, as the black that can be detected is more flavoring than a full on side dish.

Breathing the Fire does not waste any time getting up to speed, nor does it overstay its welcome. The twelve-song collection clocks in at just under 36-minutes. It is long enough to get its point across, short enough that it does not become repetitive, and catchy enough that you want to start it all over again as soon as it ends.

It is surprising to hear how well the pure old-school thrash meshes with the melodic brutality of black metal. On the surface the two sounds are quite different. The boys of Skeletonwitch prove they can play nicely together as the move the thrash sound forward a bit with new approaches.

The album is not exactly groundbreaking in what we get, but it is fresh. It still gets the job done. If you like aggression in your music, if you like your music with no frills or gimmicks, if you want riffs that kick you in the head, this is for you.

At the center of Skeletonwitch's attack are Nate Garnette and Scott Hedrick. The two guitar players deliver skull crushing trash riffs that seamlessly meld with melodic black metal attacks with a healthy dose of strong solo work. The sound is heavily waited to the guitar presence, without it the overall sound would greatly suffer. However, the work of Chance Garnette on vocals should not be underestimated, his distinctive growl brings a lot to how they are perceived. It is like a black metal vocalist found a new way to growl his way to the top by teaming with a thrash act.

Bottomline. This is a solid album that should find its way into the metal aficionado's collection. It is heavy, flawlessly produced, raw, and just really quite good. It is hard to go wrong with tracks like "Submit to the Suffering," "Released from the Catacombs," "Blinding Black Rage," and "And Into the Flames."

Recommended.

Box Office Update 11/6-11/8: A Christmas Carol Kicks off the Christmas Season

2009-11-10T10:27:00.000-05:00

As expected, Disney's new take on A Christmas Carol led the box office. It came in under expectations (well, mine at least) but still managed a gross the more than doubled its nearest competition. I have always wondered why Christmas-themed movies would get released so early in the season. However, it does make a little sense in this case, considering you have to slot it in for the 3D theaters and Avatar already has December sewn up. But that is neither here nor there. I am looking forward to it, especially now that I have learned it lifts much of the dialogue directly from Dickens text. So, in addition to the 3D animation, we get some authentic language. Interesting.

Coming in a distant second, but still respectable is the short run release of Michael Jackson's This Is It. In two weeks of release it has made more than $57 million, which is not bad considering it will likely be on home video in time for Christmas. I have not seen it, but this has to be considered a success.

Third place plays home to the next of this week's new releases. The latest George Clooney film, The Men Who Stare at Goats, opened to mediocre reviews but a respectable box office. The film offers moderate entertainment. It never digs very deep, relying on surface farce and the fact that it is based on supposedly true events. The performances are pretty good and it does have some good ideas, but in the end is rather lightweight and insubstantial.

Close behind in fourth place is the latest indie seeking to make a big splash. The Fourth Kind purports to be based on actual events and is chock full of archival footage. I cannot say I believe it to be real, but taken just as a movie it is done with style and energy and you will be drawn in. I am not sure how much replay value it has, but it is definitely worth one spin through.

There is one other new release on this week's list, The Box. This is Richard Kelly's latest offering and his first to go wide. This means that this is a big test for the young director. Does he pass? The jury is still out for me, although everything he has done has been quite intriguing. This latest film boils down to a simple morality tale, yet is filled with complex ideas on an epic scale that only sees a small fraction on the big screen. The Box is as simple or as complex as you want it to be. It may not do well at the box office, but will likely do well on home video and down the line.

Aside from the top ten, there is one big story in non-top ten land. Precious placed 12th and is poised to make a big splash. The film has had a lot of Oscar buzz floating around it and it appears the public may follow suit. The drama took in $1.8 million from just 16 theaters. Its per screen average was over $100,000. If that is not impressive, I do not know what is. Now I just need to see it.

Next week will see new competition from Roland Emmerich's latest disaster flick 2012 and the "based on a true story" film about rock and roll in Britain, Pirate Radio (formerly known as The Boat that Rocked).

Four films dropped off the list this week: Saw VI (11), The Stepfather (14), Amelia (13), and Cirque du Freak: The Vampire's Assistant (17).

This Week	Last Week	Title	Wknd Gross	Overall	Week in release
1	N	A Christmas Carol 3D	$30,051,075	$30,051,075	1
2	1	Michael Jackson's This Is It	$13,157,944	$57,013,286	2
3	N	The Men Who Stare at Goats	$12,706,654	$12,706,654	1
4	N	The Fourth Kind	$12,231,160	$12,231,160	1
5	2	Paranormal Activity	$8,278,605	$97,108,475	7
6	N	The Box	$7,571,417	$7,571,417	1
7	4	Couples Retreat	$6,129,045	$95,680,555	5
8	3	Law Abiding Citizen	$6,003,737	$60,704,335	4
9	5	Where the Wild Things Are	$4,177,249	$69,220,584	4
10	7	Astro Boy	$2,626,103	$15,110,804	3

Box Office Predictions Recap
Easily the worst weekend I have had in awhile, but that's all right. I think that is starting to become my weekly mantra! Eventually things will begin to look up, but who knows how far off that will be? Fortunately, I am just having a little fun with this and no ones jobs are at stake. I was a little surprised that A Christmas Carol did not open stronger, but it is a bit early for holiday cinema so I guess I shouldn't be surprised. What can I say about the rest? I was not really all that bad on the dollars, but my placings were awful. Perhaps next week will be better.

Here is how the field matched up:

Actual	Prediction	Title	Wknd Gross	Prediction
1	1	A Christmas Carol 3D	$30,051,075	$43 million
4	2	The Fourth Kind	$12,231,160	$13 million
6	3	The Box	$7,571,417	$12.5 million
2	4	Michael Jackson's This Is It	$13,157,944	$10.5 million
3	5	The Men Who Stare at Goats	$12,706,654	$9.5 million
5	6	Paranormal Activity	$8,278,605	$9 million
8	7	Law Abiding Citizen	$6,003,737	$4 million
7	8	Couples Retreat	$6,129,045	$3.5 million
9	9	Where the Wild Things Are	$4,177,249	$3 million
11	10	Saw VI	$2,031,944	$2.5 million

DVD Pick of the Week: Near Dark

2009-11-10T04:18:00.000-05:00

Welcome back! Well, to some of you, anyway. To the rest of you, glad you decided to stop by and I hope this humble column helps you navigate the stacks of new releases each week. My goal is to point you toward titles of interest and warn you away from those films that seek to do nothing but leech away your time and give you nothing in return.

Full disclosure: I have not seen many of these titles, and what follows are not necessarily reviews, but opinions based upon what I know of the titles I pluck from the new release lists I peruse. The opinions I give based on the new releases are my own, and my recommendations are based on my personal interest. In any case, I hope you enjoy and perhaps find something you like or a title to point me towards.

Near Dark (Blu-ray). Arriving on Blu-ray is one of the best vampire films ever made. Katherine Bigelow directs this 1987 film that never once utters the "v" word. It brings an innocent young man a whole world of trouble when it turns out the woman he is hitting on is a member of a traveling group of blood suckers. It is a gritty, involving film that will hold your attention from start to finish. The cast includes Adrian Pasdar, Jenny Wright, Lance Henriksen, Bill Paxton, and Jenette Goldstein. I wonder how much the high resolution upgrade will help it?

Up (also Blu-ray). Another week this would have been my top pick. It is one of the best films to hit the screens in 2009. This is an amazing film that works on so many levels. It gets to you on an emotional level. This movie nearly had me in tears inside of fifteen minutes before moving into a grand adventure. Through it all, you will be involved with the characters. Pixar has done it again and everyone needs to have this in their collection. It will be available in multiple versions, single and 2-disk DVD, and four disk Blu-ray. The only way to go is the four disk, as it has a DVD even if you don't have a Blu-ray player yet.

Monsters, Inc. (Blu-ray). Just like Up, this Pixar release is a four disk set that is sure to cover all the bases. It is not my favorite Pixar film, but there is no such thing (not yet, anyway) as a bad Pixar film. I am sure the Blu-ray will look spectacular, so it may be worth it to take a look.

Watchmen: The Ultimate Cut (also Blu-ray). Not sure I am going to pick this up, as I think the previous release covers most of the bases. If I am reading it right, the only difference is the inclusion of The Black Freighter, which had been previously been available separately. Still, it is an amazing film, that you should get if you haven't already.

The Three Stooges Collection, Vol. 7: 1952-1954. Volume seven already? I think I have missed a few. I own the first couple of releases and they are fantastic. Remastered and released in their original chronological order. There is nothing like old school comedy.

Heat (Blu-ray). Michael Mann's classic crime film was the first to put Al Pacino and Robert Deniro in the same frame for the very first time. It has been some time since I have seen it, but I do recall the opening heist sequence to be rather exciting. Perhaps I should pay it a revisit?

Sesame Street: 40 Years of Sunny Days. I grew up on Sesame Street, but it was in the days before Elmo threatened to take it all down. This set should give some great memories of my very young days.

The Accidental Husband. Did this ever reach the big screen? I remember seeing the trailers in theaters, but do not recall it ever having a release. The film stars Uma Thurman, Jeffrey Dean Morgan, and Colin Firth in an odd love triangle. I guess they realized it was not going to go anywhere and hope to recoup their costs on the home market.

The General (Blu-ray). The 1926 Buster Keaton comedy may be the first silent to arrive on Blu-ray. I cannot find reference to any others yet. It is a good one. Keaton is one of the greats of the silent era.

The Ugly Truth (also Blu-ray). Here is a movie that purports to put a spin on the romantic comedy, yet by the time the climax arrives it has slipped back into the tried and true cliches of the genre. Watch as Gerard Butler and Katherine Heigl spar on their way to the inevitable.

Logan's Run (Blu-ray). Classic from the 1970's. This film centers on a future society where everyone lives in a bubbled metropolis and have every need tended to as they pursue hedonism. All is smiles until they reach their thirtieth birthday and must attend Carousel. That is until Logan chooses to run. Michael York stars.

Godzilla (Blu-ray). The 1998 Roland Emmerich disaster arrives on Blu-ray. You know, with a couple of tweaks and a different name, this probably would not have been nearly as bad. As it, I bet it looks pretty snazzy in high definition.

Hurt. This horror film seems to have some good buzz floating around it. I cannot say I had heard of it before, but the idea of a good psychological horror film sounds good to me! It centers on a family whose patriarch dies and is forced to move in with his brother in an old junkyard and the things that happen upon their arrival.

The Echo (Blu-ray). The trailer for this feature looks like a Japanese ghost story told in an American setting. A man moves into an apartment building and begins seeing and hearing things that may be malevolent. May be good, may be derivative. Anyone out there know?

Star Wrecked. This is a fan made film that spoofs Star Trek and Babylon 5. I have not read much about the plot, but it seems to have been well received by the fans of both series. Maybe it is worth taking a look at.

I really need a Netflix account....

The Men Who Stare at Goats

2009-11-09T07:21:00.000-05:00

"More of this is true than you would believe."

With those words we are introduced to the potentially real world of psychic spies who possess and hone skills that allow them to see the other side of the world, walk through walls, get into the heads of their enemies, and kill goats by just staring at them (this could take hours). The Men Who Stare at Goats chronicles the real adventures of journalist Bob Wilton (Ewan McGregor) who was simply looking to make a name for himself in the early days of the war.

Bob Wilton was a reporter for a daily newspaper in Ann Arbor. He is assigned to interview a local man who claims to have been a member of a special arm of the military that focused on psychic abilities. He tells him of a man named Lyn Cassady, the top agent in their unit, and shows him video of hamster being killed with the powers of the mind.

Wilton rights him off as a loony and soon heads to Afghanistan in the hopes of furthering his career. However, he is unable to get into Iraq where all of the action was. This is when fate stepped in to take him on an adventure he will not likely forget.

He bumps into Cassady (Jeff Bridges), purely by chance, in Afghanistan. Together, the two journey into war torn Iraq in search of Bill Django (Jeff Bridges), the founder of the psychic soldiers. Together, they find themselves in all manner of scrapes where Lyn uses his "abilities" to rescue them, while Wilton tries to keep himself alive. All the while learning about Django through flashback. We get a front row sear to the pony-tailed Lebowski-esque Django as he leads his men as part of the New World Army, dancing, meditating, taking hallucinogens, and passing it all off as serious military work.

When it comes right down to it, The Men Who Stare at Goats is a road movie with McGregor playing the straight man to everyone else. It is amusing to watch as Clooney's Cassady tells of his Jedi ways to McGregor who has played a Jedi in three films. What does it all mean? That is for you to decide. Frankly, I am not so sure it really means anything. Would it surprise me to find out that everything is true and the government was/is trying to train paranormal soldiers? No, not really. I would not put any craziness past what someone in power is willing to try.

The movie floats by on the oddball actions of its characters, from Cassady's complete belief in his abilities, to Hooper (Kevin Spacey) despising him for it, to Django and his desire to further the program, to Wilton's perpetual amazement at what he is experiencing. Unfortunately, the film never really takes off. It is like they put the story on repeat where something weird happens to amaze Wilton, then goes through the motions over and over again.

This is not movie that I believe will have a long shelf life. It is fun while you watch it and it does not require much from the audience. I know I left the theater with a smile on my face. It is just tat in short order the warm feelings go away and are replaced with something more along the line of: "What did I just see?"

It helps that the cast has bought into their characters. What could have easily turned into dumb comedy retains a few shards of intelligence allowing the absurdity shine through in how serious it is all played.

Director Grant Heslov does a good job of keeping it all moving forward. The pacing does not slow down much, intent on keeping some level of absurdity on the screen at all times, lest you begin to give any of it deep thought.

Bottomline. I enjoyed it. In retrospect it comes off as a rather lightweight and insubstantial. It does offer some interesting thoughts on where some of our military spending may be going. The performances all hold up and the look is pretty good. It is worth checking out, just do not expect any deep thoughts afterward.

Recommended.

Powerman 5000 - Somewhere on the Other Side of Nowhere

2009-11-09T06:45:00.004-05:00

Every time a new Powerman 5000 album arrives, I stop and think: "those guys are still around?" Do not get me wrong, I love these guys but you could hardly call them prolific. On the other side of that coin, whenever a new album arrives the always manage to knock it out of the park. None of them are really reach the land of the classic, but they are always eminently listenable and invite you back time and time again. Not only that, they all tend to have different sounds while always coming from the same distinct voice.

Speaking of that distinct voice, I wonder when Powerman 500o will finally admit it is really just the Spider show? It seems there is significant turnover with the bands lineup in between each album. Why this seems to happen so often I do not know. Although, I will hazard a guess that it has to do with Spider's desire to head in different directions and not replicate what he has done before.

The desire not to repeat himself goes all the way back to what is arguably their biggest album. Tonight the Stars Revolt! That was released in 1999. The followup was slated for Summer 2001, but mere weeks before it was to come out Spider decided he did not want the follow up to sound so similar. The album, Anyone for Doomsday?, was canceled. A few of the band members left and they went back to the drawing board, releasing Transform in 2003. The album is a solid hard rock album and very different than what came before it.

Here we are in 2009 and Somewhere on the Other Side of Nowhere is here. It is step up from 2006's Destroy What You Enjoy (which was very much in the same vein as Transform). This new album strikes me as a cross between their current run of straight up hard rock and their electronic influenced past. At the same time it sounds fresh and just begs to be turned up loud!

The album opens with "Intelligent Creatures." It is brief intro of tones that sound like they are straight out of an old school Italian horror movie. This gives way to guitar noises and some rapid fire drums as we kick into the hard rocking "Show Me What You Go," a song that begs for audience participation. I can almost see the crowd bouncing to this one with hands raised high.

Next up is another rocker with perhaps a little more electro-influence, "Super Villain." This is a mid-tempo track that would probably play well with "Heroes and Villains," which appeared as a live track on Destroy What You Enjoy.

Among my favorite songs is "V is for Vampire." There is something about the beat, the pace, the vocal rhythm, that is just so inviting. It is very much like being drawn in by a vampire. Rock your head, sing along, and enjoy.

Other highlights include "Get Your Bones" and "Make Us Insane" before heading into the closing tune that hearkens back to the day of Mega! Kung Fu Radio. The song is called "Horror Show" and features Spider doing his back of the throat, laid back, rapping style that only peeks out once in a while.

Again, Somewhere on the Other Side of Nowhere is not a classic album, but it still features Spider doing his thing. No one really sounds like him. His music is never really all that serious and seems to be geared towards the live show, or at least for playing at parties.

I must admit to having a real soft spot for Powerman 5000. I cannot help but feel they should be bigger than they are. It hurts that they do not seem to get any promotion. I mean, when I am surprised each time a new album drops, what can that say for band visibility? Perhaps the final words of the album are a legitimate cry for help? Listen to the album and let me know what you think.

As for Somewhere on the Other Side of Nowhere? Do yourself a favor, pick up a copy, turn the volume up, and enjoy.

Recommended.

Beast Within

2009-11-08T20:36:00.000-05:00

Beast Within is a cheap horror film from Germany that was made with American audiences in mind. Why do I say that? All of the characters are speaking in English when it is clearly not their first language. This likely indicates this as not being targeted towards the native population, but specifically for export to English speaking countries with America being one of the big ones. I guess it does not much matter as I do not think speaking in their native language could save this movie.

Zombie movies are a dime a dozen these days. You cannot go anywhere near the horror section at your local store or rental chain and not be inundated with all manner of zombie flicks both known and unknown. If you are discriminating in your zombie dollar, you will not want to bother with this one. On the other hand, if you have burned through everything else, this will fill the need although it is not necessarily a zombie film. It is more like an "infected" movie where he result could be described as zombie-like.

All right, if you ignore the low-budget production values, poor script, and poor acting, this movie is not all that bad. Of course, it is not all that good either. As I sat there watching it, I kept waiting for it to take that turn into either unbelievably bad territory or into that realm of potentially good if they had more time and a better budget. Instead Beast Within moved along on autopilot.

It opens with a car crash, followed by some voice over about a doctor and a controversial vaccine for H5N1, aka Bird Flu. We see the old man attacked by birds and killed. Jump ahead a little bit and we pick up with Robert (Philipp Danne), the doctor's grandson and a doctor himself. He is traveling to his grandfather's remote mansion with a few of his friends to take care of remaining business and perhaps party a little bit.

No sooner has he gotten back to town that he bumps into an old nemesis, a tattooed hot dog delivery guy. Not only that, he also runs into his old flame. Of course, one thing leads to another and the girls are invited out to the mansion for a little partying.

Fast forward to that night. The guys are drinking and looking around the place. The girls show up, there is a little more drinking and fooling around (of course). However, their fun cannot last long. Apparently there are still infected birds around and they get to pecking at tattooed nemesis, turning him into a bird-flu infected zombie thing.

Infected guy heads to the mansion and mayhem ensues. Before you know it, the group of friends are barricaded indoors, one of their own infected, and more on the outside. Will they be able to survive the encounter? Only the night knows the answer!

That is about all there is to it. The biggest addition to the genre is the infection being a mutation of H5N1. If only they had thought a head a little bit they could have cashed in on H1N1. But who knew?

There really is nothing all that special here. The acting is poor, the screenplay is poor, there is no real depth to the story. Basically, only watch this if you have nothing else. It is not the worst film I have seen, heck, it isn't the worst I have seen in the past few days. That does not mean it should rank highly on anyone's list.

Bottomline. Directed by Wolf Wolff and written by Wolf Jahnke (That's a lot of Wolfs!) this movie fails to take flight while never imploding under ineptitude. It i just sort of there. I am sure if you wait long enough, it will pop up on the SyFy Channel.

Not Recommended.