apollo x daphne

Jetta Carleton's THE MOONFLOWER VINE

2010-02-07T08:55:00.000-08:00

Hailed as a rediscovered classic, The Moonflower Vine shares many parallels with Harper Lee's famed To Kill a Mockingbird. Both are the only novels of their respective authors; both are autobiographical in nature, and focus on socio-political issues of their respective times and places without making those issues the story's focus. For Lee, it was southern rascism; for Carleton, it was women in the Midwest.

The story centers around a farming family in Missouri, the Soames family. Matthew Soames overshadows the whole family with his religious devotion, and stringent nature; Callie Soames is the family rock, and mother of four, Jessica, Leonie, Mathy, and Mary Jo. Carleton's narrative captures their triumphs, doubts, and tragedies over the course of a lifetime.

The strength of this book is undoubtedly its simple but slicing characteristics. Matthew is never convinced that he himself is good enough, a feeling he projects onto his daughters and particularly eldest Jessica; by contrast, he is constantly in conflict with himself, struggling with feelings of inferiority within himself while lording superiority over his wife, children, and the townfolk. Outisde the house he is beloved and respected; within, he barely acknowledges his family. Yet he isn't the evil tyrant we, as readers, want him to be; instead, he is a deeply divided, harsh, lost man, needing Callie probably more than she needs him.
Callie is more of an enigma, and we follow her viewpoint last in the story--the book is divided into six parts, each following the life of a separate family member. She is a much more simplistic character, but she understands Matthew perfectly; their marriage is frought with love and trials of fidelity, and patience.

The sisters, too, feel connected but are distinct enough to make this a genuine family. Jessica is the headstrong, grounded first child who makes a foolish decision, while Leonie is the anxious good-girl with her own folly. Mathy is utterly reckless, and the Mary Jo whom we only truly meet as an adult is introspective and wise beyond her years (and is undoubtedly the author; Moonflower is, after all, her only novel). The events of their lives unfold with the practicality a Midwestern story should possess; this isn't an overblown soap-opera, but rather a tale of dreams tucked quietly away into treasure chests while one house serves as a harbor for all the ships to come home to, year after year in the summers.

Verdict: The story doesn't reach the heights of greatness that Mockingbird does, though it's hard to pinpoint why. However, it's a wonderful family drama and in-depth character study, and as much about one family as it is about an oft-unexplored pocket of America.

-elln

The Hangover

2010-01-02T20:26:00.000-08:00

It was recently New Years so this seems appropriate fodder. So let's talk about the highest grossing R-rated comedy ever. And what makes it so funny.

Todd Phillips hasn't really produced anything this, well, sophisticated before. Odd word choice, and yeah it's a comedy and it can be gross but it never dips to the gratuitously disgusting levels of something like Superbad. In fact, most of the humor comes from the absurd situations our beloved characters find themselves in.

On a trip to Vegas to celebrate Doug's (Justin Bartha) last nights as a free man, he and his buddies Phil (Bradley Cooper), Alan (Zach Galifianakis), and Stu (Ed Helms) are accidentally roofied and can't remember the entire night. They wake up in the hotel villa with a tiger, a chicken, a baby, a missing tooth, and a missing Doug. Desperate to find Doug, the three remaining men try to piece together the night before to save Doug's wedding and their own butts.

A film like this has to succeed on the performances of its leads, and The Hangover does just that. Bradley Cooper thrives in asshole roles (see Wedding Crashers) and pulls off fast talker, narcissistic Phil perfectly. Stu is the goody-two-shoes, owned-by-his-girlfriend, nerdy but successful dentist who usually picks up the tab. And then there's Alan...oh, Alan. Invited because he's the bride's brother, Alan is the perfect example of one of those guys in real life who don't have anything wrong with them that you can pinpoint, like Asperger's, but who continually make socially awkward, ignorant, or stupid comments that either make you laugh in disbelief or shy away from them while trying to mask your expression of horror at the same time. They say things like, "I didn't know they gave out rings at the Holocaust!", one of Alan's best lines, with complete and honest surprise. Sounds like a certain Belushi we all know and love.

The characterizations are refreshing in that we know these stereotypes, but they're downplayed and believable here. The acting is top-notch, as is the writing as the absurdities continue piling one on top of the other. The humor ranges from slapstick to jawdropping to situational irony, and yet somehow it all feels real. It feels like these guys could actually steal Mike Tyson's tiger, and actually get tazed for fun in a police station, and actually drive a cop car around illegally.

This is, of course, a certain brand of humor. Not everyone will find the humor base enough, or mainstream enough; it's a bit offbeat and quirky at times, especially some of Alan's creepier moments. This isn't stupid comedy, and the dialogue is smarter-than-average. Even if the premise sounds tried and tired--four guys go to Vegas for a wild night--it's so well-executed that it definitely had me cracking up. The only way you'll know, though, is to try it for yourself.

I do have to comment on the weakness of the soundtrack. A couple of the hip-hop/rap songs may have suited the tone of the movie, but they were way too noticeable and completely overtook some scenes instead of supporting them.

Verdict: While the premise may sound cliched, this is one of the funniest comedies of 2009 (and perhaps the decade), and certainly the most well-written.

-elln

Ringside's RINGSIDE

2010-01-02T17:00:00.000-08:00

In 2005 Ringside debuted its self-titled album to minor buzz, but quickly faded out of the limelight. They promised another album in 2007 to arrive the following year, but that never came to fruition. Their debut is a low-fi indie album with an emphasis on clever pop in the vein of a less experimental Eels. It's a largely undiscovered gem aside from two singles which received modest play in commercials and such, but it's easy listening for those of us who are suckers for well-crafted pop.

The album opens with "Struggle," arguably the catchiest song on the whole thing, and a laid-back version of Eels meets Grand National. It's a very polished piece of light-weight, smooth pop; if you get anything from this album, get this smoky, cool, seductive song. "Cold on Me" flirts with a jazz/blues background, while "Trixie" is a solid if forgettable album addition. "Miss You" is as downer as the album gets, and while the lyrics are far from sophisticated, the tune carries the song (this is the case for much of the album), and it's almost reminiscent of Coldplay without the lush sound. "Dreambat 730" is a pleasant surprise and one of the album's strongest offerings, though the rhyming walks the fine line between immature and intelligent. It does proffer the album's most provocative lyrics if only for their nonsensical qualities, particularly in the second verse where Scott Thomas tackles masochistic love: "I think I need my spine cracked/break my back/come on, baby, take me back/pinch me, lynch me, hang me from old hickory/sing your sings of peace and love/come on, baby, beat me up/oh, now, don't worry/I like it when you hurt me."
"Sleep Well, Jeff" is catchy enough, while "Talk to Me" is probably the sleekest, smoothest track on the album. "Raining Next Door" is another song with subpar lyrics but with a solid enough hook to make it another quality track. "Criminal" demonstrates that Ringside should probably stick to the catchy, shallow indie beats instead of ballads-turned-cheesy like this one. One moment it pulls at the heartstrings and the next it's easy to be scornful at Thomas' attempted soul-baring.
"Jackie" is a better effort than the earlier, sounding even a bit Mellencampy aside from the synth effects. Unfortunately, all the titles on the album tracks are abysmal.
Ultimately, the electronica keeps the listener at arm's length, but you're still gonna be admiring across the distance. This isn't the best thing since sliced bread, but in spite of its lyrical mediocrity and lack of experimentation, smart melodies and insanely addictive electronic production make it a diamond in the rough. For lovers of Eels, Grand National, Hard-Fi, and RJD2.

Verdict: Unimaginative on the lyrical end, Ringside's negative aspects are outweighed by catchy beats and immaculate production.

-elln

Castle Freeman Jr.'s GO WITH ME

2009-11-30T14:19:00.000-08:00

Who names their kid "Castle"? Just had to get that out of the system.

One of the most underappreciated art forms ever, not just in America, is the novella or short novel. For most novels you can cut out a ton of the content and have a cleaner, better story. But, for some reason, people don't take them seriously. Freeman Jr.'s Go With Me should make people think twice.

In a tiny, rugged Vermont town Lillian is being stalked. A local enigma, Blackway, has killed her cat and forced her boyfriend out of the state. She doesn't have proof, so local law enforcement advises her to find other ways to deal with the situation. She seeks out the aging Lester and young Nate to help remedy the situation with Blackway; meanwhile, the town elders sit around contemplating who will win in the impending fight.

This story is cold, stark, and most importantly an analytic dissection of action and consequence in a limited, high-tension environment. This is not a book to give you warm fuzzies. It doesn't even want you to like its characters. Blackway is a frightening, looming presence, Lester is a taciturn old man, Nate barely says a word because he's a simpleton, and Lillian is willful but often a bitch even to the men helping her. And although we can barely empathize with or relate to these characters, the story still draws us in with its calculating precision and magnifying glass structure. This effect is only amplified by the stark and ruthless writing. Another pull is the mystery of Blackway, who appears but briefly in person.

The plot doesn't lumber, it builds and then races to a climax, propelling the story forward. It's a story which has been taunting us by pausing in various places along its path toward the final destination. Arguably the weakest part of the text is the council of town elders; while they do give insight into the provincialism and homespun nature of the town, they often repeat themselves...and as true to real life as that is, that doesn't make the technique interesting.

Verdict: this short but sweet mystery thriller is a dark and treacherous read.

-elln

Fantastic Mr. Fox (Film)

2009-11-30T13:38:00.000-08:00

Based on the book by Roahld Dahl, Fantastic Mr. Fox is Wes Anderson's first foray into animation--and what a beatific foray it is. Using painstaking stop motion animation and breathtaking dioramas, Anderson has brought Dahl's quirky and colorful landscape to life.

Mr. Fox is the most successful thief around until he hangs up his criminal hat to get married. But when Mr. and Mrs. Fox move house, Mr. Fox is tempted to a life of crime once again by the proximity of the meanest and richest farmers in the county--Boggis, Bunce, and Bean. Mr. Fox starts stealing again, but once the farmers find out war ensues.

This could easily be simply a children's film, but the beauty is that it isn't just that. While kids are sure to enjoy it, it works on all levels. It's one of those rare, off-beat, delightful films which offers something for everyone. Anderson never loses sight of the fact that he's adapting a children's story which allows latitude for silly and fun elements; nor does he let goofiness override the smart dialogue or direction. Crucial to the success of the film is the humor, which includes slapstick and physical humor, as well as sarcasm and deadpan one-liners. It's never over the top and never amiss.

The visual style is scruffy and endearing, and where would it be without an excellent cast? George Clooney is stellar as Mr. Fox, as is Meryl Streep as Mrs. Fox. The highlight performance, though, is Jason Schwartzman as Mr. and Mrs. Fox's son, a disaffected cape-wearing ~~youth~~ cub. other performances are solid and appropriate for such a charming cast of side characters. The music is a spare country soundtrack which completes the film.

All in all this is a splendid, unconventional treat and showcases Anderson's greatest abilities yet.

-elln

Dr. Dog's FATE

2009-11-28T13:51:00.000-08:00

Philadelphia natives (and yes, I have seen them live), Dr. Dog have slowly and steadily been making a reputation with mellow, lo-fi "indie" rock for years. Well, it might be labeled as indie rock but that's just because it's too complicated to say they're psychedelic blues rock meets classic '60's pop. "The Breeze" isn't the most overwhelming album opener, but it sets the mellow tone the album will maintain and uses some interesting flute instrumentation near the end. "Hang On" introduces the bluesy tone and smattering of country which will dominate the album, including some well-placed harmonica work and gospel vocals. It also sports some of the best content lyrically: "and what you thought was a hurricane was just the rustling of the wind/why do you think we need amazing grace just to tell it like it is?/ oh I don't need no doctor to tear me all apart/I just need you to mend my heart."

"Old Days" is another album highlight, with snare drums layered over by far-off vocals, shakers, and other strange percussion, supplemented by a piano hook in a fuzzy psychedlic folk fusion. It's astounding how much they achieve without traditional instrumentation. "Army of Ancients" is for the true blues-lover tinged with some NRBQ-esque jazz. "The Rabbit, the Bat, and the Reindeer" is the catchiest song on the album, a piece of excellent piano-driven druggie pop, while "The Ark" is a close second and the darkest song on the album in tone. It opens with mean, driving guitars which demand your attention, and again that military snare; the lyrics are also some of the best of the album: "God, he called for rain/so I built an ark but no rain came/I was ashamed...Love, she asked for more/but what I gave only made her poor." This is the only real rock on the album, but it shines beautifully and it's much rawer than the other tracks.

"From" is a relaxed, trippy love ballad, appreciable for its slow build and rooted in folklore lyrics. Lyrically the album is superior as it strays from the beaten path to express love and friendship in unconventional ways, works with random images like trains and trees, and delves into folklore, large thematic concepts, and even biblical references. This strength is particularly evident in "100 Years," which explores mortality and slavery in a tall tale manner: "About 100 years from now I'm going to marry you out of common sense/and get out from behind this plow."

"Uncovering the Old" is a solid album contribution, but not particularly remarkable compared to earlier tracks. "The Beach" comes closest to the sharp guitars and attitude of "The [brilliant] Ark," and sports the lyrics from which came the album title. Album closer "My Friend" cleverly weaves together the whole album, starting with a country-tinged opener and using themes from all the songs, or refering lyrics from the other tracks. It ends perfectly with the sound of a train pulling away. This is an album which took a while to grow on me, but it will stay with me the rest of my life. Highly recommended for all ages.

-elln

Duplicity

2009-11-28T10:42:00.000-08:00

Famed director Tony Gilroy's latest effort, Duplicity, is a mixed bag. Clive Owen is Ray and Julia Roberts is Clare, and they are MI6 and CIA agents respectively. After two one-night stands they team up to extract themselves from their agencies and go private, intent on swindling both sides out of millions of dollars to set themselves up for the rest of their lives. So they sign on with a private corporate group intent on stealing the formula to a rival's new product--but the question is who is playing who?

The main draw of this film is how paranoid it makes you. Really. When the two leads constantly question each other, nervous that the other will take off with all the funds, the audience is constantly running through the maze wondering who is on whose side. The slick filming and direction may set the tone for this quirky, offbeat spy movie, but the plot gets a bit too convoluted to follow, and lacks a big reveal which should be a payoff for the audience. It's still engaging, however, as is the dialogue between the two leads--or what little there is of it--minus the one embarrassingly mushy love confession. Most of their relationship is sexual, but since it's a spy movie, whatever.

The film does suffer, at times, from info-dumping, which doesn't come off quite as eloquently as it did, in, say, something like Oceans 11. As Dick's team explained all their intricate little spy tricks to him I was rolling my eyes.

The callousness and scheming of corporate america is totally trashed here (I approve!), and Paul Giamatti is brilliant in his portrayal of egotistic, maniacal corporate executive Dick Garsik. In fact most of the cast is stellar. The movie has a notably good soundtrack, with a lot of Spanish-sounding tracks to empahsize the sexiness of it all. The characters themselves might not be particularly complex, the plot might be too complicated at times, but the fun is all in navigating the labyrinth of who is using who, and the heart-pumping action is thrilling. Even if the ending was a bit lackluster, I enjoyed the very last scene immensely, and was glad to have good old Clare and Ray back from their hiatus as fast-talking spies instead of people-who-make-really-trite-and-hackneyed-love-speeches.

-elln

Audrey Niffenegger's THE TIME TRAVELER'S WIFE

2009-11-28T10:10:00.000-08:00

Okay, I'm off hiatus and back to reviewing.

If you'll recall I went to see the movie when it came out a few months ago, so I decided to read the book that's made such a splash. First, the concept is a clever one. Henry DeTamble is afflicted by a genetic disorder which causes him to time travel spontaneously. This isn't some magical gift, but rather a curse which plagues his life, causing him to end up in dangerous situations and to learn things about the future he would never normally know.
His wife, Clare, has known him since she was six years old because an older version of Henry traveled to the past to see her. Meanwhile, Henry meets Clare for the first time in his own timeline when he is twenty-eight. Thus begins their harrowing love story.

And this is a love story, a good one. Told in present tense, first-person narrative, it tries to get as close to the reader as can be. The sentences are direct, simple, and cutting; the characters are complex. Niffenegger's strength seems to be her unrelenting brutal and harsh portrayal of the realities of life. Even though her premise is fantastical, an ability which we would at first glance believe a blessing, she treats with eagle eye precision as an almost life-threatening illness. Clare and Henry are so in love, yet face so many troubles. Of course the title is revealing; this isn't about a woman coming into her own (a woman who is already fiercely independent), but rather about a steadfast love. By making Clare a possession of Henry in the title, Niffenegger has already relegated her to that "waiting" position she maintains throughout the book.

Despite its realistic and complex look at a single relationship, the book does have its faults. Chief among these is its diminished emotional impact. Sure, at the end I did feel that a some great saga had come to an end, but I wasn't exactly teary-eyed. This is mostly because Clare and Henry are unapologetically selfish characters. They mourn their plight, they both injure other lovers unrepentantly, they decide that they need one another despite the consequences. Perhaps these are realistic human traits-but there isn't much to ingratiate you to either character, both of whom seem to run around in circles throughout the book even as their relationship with one another changes.

The book has plenty of strengths. Its length may have been excessive, but Niffeneger pulls off the intersecting, jumping timeline structure quite well. She uses it for shocking revelations late in the book and a few excellent plot twists. And secondary to the romance of Clare and Henry is an exploration of family. Clare's family, with its dysfunctionality swept neatly under the rug and surfacing during high-tension family affairs with the aid of inebriation, rings painfully true. Developments in the Ingrid and Henry storyline, mirrored by the Gomez and Clare storyline, are a treat for the reader and often provide more insight into the two protagonists than many of their own interactions do. This is a mature and cathartic read, and it succeeds in being epic even if it does fail to rake us across the coals in an emotional sense.

-elln

New Moon (movie)

2009-11-20T14:23:00.000-08:00

An adaptation of the second installment in Stephanie Meyer's Twilight saga, New Moon is definitely an improvement over the first film. In fact, it's an improvement over the book as well. Why? A couple reasons, including the fact that the plot contrivances are far less obvious in the movies.

The basic idea is that Bella Swan (Kristen Stewart) and Edward Cullen (Robert Pattinson) are In Love except that Edward is torn between loving Bella and wanting to suck her blood, seeing that he's a vampire and all. Too bad in the first movie Edward had as much character as a piece of cardboard, especially in the scenes when he isn't staring at Bella completely freaked out.

New Moon itself is a faithful adaptation of the novel, so most of its plot and character problems come from the books themselves. The movie is a solid piece of entertainment, blending tortured romance with slice-of-life with action and supernatural elements--throw in some dark and deadpan humor and you've got it made. The soundtrack is good, the direction is excellent (except for the plethora of close-up face shots which made me feel like the characters were breathing on me), and the art direction is luscious. Watching all those wonderfully dark, beautiful characters on screen is a treat. But the strength of New Moon versus Twilight comes in the absence of one of Twilight's leads and the insertion of secondary character Jacob (Taylor Lautner) as the third side of the love triangle.

What Twilight failed to realize is that (especially aimed at a female audience) lack of dialogue between the two mains leads CANNOT be made up with by pans of Edward and Bella lying in fields, holding hands, and climbing trees. There is no replacement for good dialogue, and it was missing in Twilight. As a result, Edward became inaccessible to the viewer. Not so the case with Jacob. New Moon's script is ten times better than Twilight's and allows for light-hearted and more serious banter between Jacob and Bella; Jacob is a lovable hunk of muscle and a stark contrast to Edward. So in terms of character development New Moon is vastly more satisfying than the first installment of the series.

The only notable disappointment between first and second movie is the lack of screen time for the Cullen clan, a cast of characters who are almost as fun to watch as Edward is dull. And there were a couple poor directing decisions, such as the ridiculous scene where Jacob fumbles around with a motor bike instead of rushing to wounded Bella, and then takes off his shirt to wipe her small head wound. Tell me they weren't thinking about the teenage audience. Also look out for Dakota Fanning all grown-up and playing sadistic vampiress Jane, a high-ranking member of the Volturi.

Plot has never been a problem in the saga, although when examined with a critical eye all the contrivances become apparent. Case in point: Bella's one friend, once Edward leaves, just happens to turn into a werewolf. In movie form, however, it's easier to dismiss these contrivances because of the flair and suspense with which the film is directed. On a personal note, I'm starting to wish Stephanie Meyer had just left the whole werewolf subplot out of it. Vampire politics are fascinating, at least in the movies, in and of themselves; and Jacob as a normal human provided a much more interesting dilemma for Bella. It would crystallize her problem--a happy, mortal life with Jacob, or an immortal and happy life with Edward? It seems like the question would have a simple answer, but immortality messes with the natural order of things, the soul, etc. This dilemma is much more substantial and interesting than the whole werewolves vs. vampires subplot.

As a whole the movie is better than both its book counterpart and the first installment of the series, mostly due to an improved script and a lovable third side of the love triangle.

-elln

Zombieland

2009-10-19T14:13:00.000-07:00

Yet another movie about Zombies, right? WRONG. Everything about this movie should have gone down the wrong way with me: I hate horror, I'm not a huge fan of gratuitous gore, and I'm not especially fond of the undead. But given the cast of tastefully-known but not big name actors, I was curious to see where this movie went.

A movie from director Ruben Fleischer, Zombieland’s premise isn’t exactly original. Most of the world has been stricken by a virus transmitted via biting, and it turns people into zombies, or rabid cannibals with little capacity for reasoning. Columbus (Jesse Eisenberg, Adventureland) is one of the few survivors, due mainly to following an anal-retentive list of rules he never breaks (#1 Cardio, #2 Beware Bathrooms, etc). Trying to make it home to Ohio, he teams up with outlaw zombie-slayer killing machine Tallahassee (Woody Harrelson, No Country for Old Men), and eventually Wichita (Emma Stone, Superbad) and Little Rock (Abigail Breslin, Little Miss Sunshine).

But the clichéd premise doesn’t matter because the execution is brilliant. First things first, Zombieland is hysterical. It certainly knows how to use its grossness for ick-factor moments, but most of the comedy comes from the characters themselves. The cast is a pleasantly star-studded but off the radar group, and the acting is top-notch, with Harrelson stealing the show as lunatic Tallahassee. The comedy is disgusting at times, and appropriately morbid, but never misses the mark; there are even throwbacks to Deliverance and Ghost Busters.

At the same time, there are moments of genuine suspense in the vein of an action film as opposed to a horror film. A heart-thumping confrontation near the film’s conclusion involving heavy weaponry on a roller coaster is possibly one of the craziest shoot-outs ever directed. There are also genuinely heart-warming moments in the film, although towards the end of the film the sap is played up a little too much. The soundtrack is for lovers of indie and classic rock, sporting songs by Sea Wolf, Band of Horses, and Blue Oyster Cult.

The characters are all genuinely likable people and sufficient time is spent on their respective back stories. All around the movie’s a winning combination with a good mix of humor, action, and character development, topped off by stellar direction, cinematography, and clever script-writing. If you can get past the gross factor (or maybe you enjoy it) there’s a genuinely entertaining story here. So yeah, it's all been done before--but rarely this outrageously or awesomely.

-elln

Crowded House's TIME ON EARTH

2009-10-05T07:41:00.001-07:00

Power Aussie rockers Crowded House haven't produced anything this good since their streak in the eighties. Time on Earth is a moving piece of work, helped by guests like the incredibly talented, prolific Johnny Marr (fan!) and the Dixie Chicks (not a fan). And it's an album largely haunted by drummer Paul Hester's suicide.

The album's tone is set by the floating, slow, dreamy opener of "Nobody Wants To." Neil Finn's voice is crooning, and while the song is tinged with country it's well-crafted lo-fi rock. Their sound has certainly gotten smoother, slower, and has done away with the new wave/glam tinge altogether. "Don't Stop Now" is simply a continuation of the sleek rock of the album opener, with a sufficiently-built chorus and Finn's distant but simple and piercing vocals. "She Called Up" is the album's first upbeat offering, and it's catchy but not really my style as its country influence is a bit too obvious. The bridge is definitely funky, calling to mind the disjointed chords of bands like Silverchair, but I wouldn't call this an album highlight.

"Say That Again" is another solid offering of melancholy Sunday-morning rock, like a less brash, more sophisticated Goo Goo Dolls. This haunting piece is probably the album's strongest point until the next track, "Pour Le Monde," in which Finn really capitalizes on the piano that was hinted at in the opening track. This piano-driven piece highlights Finn's basic but poetic and touching skill with lyrics, and while the orchestrated backing is this close to being sappy the piece is crafted well enough to avoid that pitfall.

"Even a Child"is Marr's contribution to the album and begins the string of really strong tracks. Integral is Marr's catchy guitar-work; here the country twinge works. "Heaven That I'm Making"is more experimental than prior album songs and isn't the strongest effort on the album; "A Sigh" is a Doves-like lush effort backed by tremoring violins and well-placed orchestral arrangements. "Silent House" (surprisingly co-written by the Dixie Chicks) is an album highlight with a smart buildup to the payoff of a melancholy, gorgeous reflection on a dead friend. Finn even inserts small bagpipe sections, demonstrating that while he knows how to play it safe, he steps outside the box enough to prove his musicianship.

"English Trees" is another album highlight, harking back to the earlier smooth rock at the album's start but even more mellowed out. "Walked Her Way Down" is the jazziest track on the album, with extra points for singable-alongable-ness, while "Transit Lounge" can veritably be called clever in both execution and subject matter, with its self-deprecation and frankness and layering of snippets of language and a nice performance by a female vocalist.

"You Are the One to Make Me Cry" seems to realize that the album is winding down, and builds an air of nostalgia using, once again, violin. Once again, one of the impressive aspects of Finn's work is how easily he incorporates a variety of instruments into his arrangements with ease so that they're effective but unobtrusive. "People Are Like Suns" is almost Keane-ish, with a slow and lovely piano arrangement and haunting, melancholy vocals (which the whole album is shot through with). This is what a good rock album should sound like; it avoids all the cliched pitfalls of the genre. Time on Earth is solid, thought-provoking, simplistic and lovely through-and-through.

-elln

The Kooks' INSIDE IN/INSIDE OUT

2009-10-04T14:28:00.000-07:00

It's ironic that the Kooks took their name from a David Bowie song considering how little they have in common with glam rock aside from occasional yowling vocals. No, these English indie rockers have a unique spin on the acoustic and alternative scene which renders their sound distinguishable from the beginning. Inside In/Inside Out is a gem of a first album, and starts out unconventionally with one of the catchiest and lo-fi tunes on the album, "Seaside." A soulful acoustic piece, "Seaside" lasts one minute and forty seconds, and is followed by the song one would think would be the opener, "See the World." The second track is when we first hear the upbeat, buzzy, piercing guitars which are the Kooks' signature from here on out, and while it's not the strongest song on the album, it's a solid start.
"Sofa Song" was released as a single before the album, and sports Luke Pritchard singing in a lower register than we've heard yet before launching into more yowling--albeit controlled yowling. What makes the Kooks so interesting is their raw garage-rock style smoothed over and polished into cystallized indie rock and tight chords. "Sofa Song" starts a slew of singles, and next up is the short and sweet "Eddie's Gun," highlighting the masterful use of harmony which is another Kooks trademark.
"Ooh La" is an album highlight where the Kooks back off on the unrelenting suniness of previous tracks and melancholy pervades this still-catchy, still-commercial song. It's not like the Kooks' subject matter is original, but the way it's written is brilliant enough and relatable enough that, sticking to their style, they really can't go wrong.
There's not much to say about "You Don't Love Me" other than that it's another solid, if not particularly strong, addition to the album. "She Moves in Her Own Way," however, is a nice relief from power-driven guitar hooks and lets the listener breathe at the perfect time with its laid-back approach to a loving relationship and lazy, sunny days.
"Matchbox" marks a lyrical change in the album to the more sophisticated, and shifts musical themes pleasurably, becoming one of the surprise album highlights, especially the catchy refrain. "Naive" is yet another album highlight in the vein of the slightly less raw, more polished second half of the album, while "I Want You Back" returns to direct, less-pleasing lyrics and misses a catchy hook by a hair's breadth. "If Only" is a punk take on alt-rock, short with simple guitar chords but a surprisingly upbeat chorus; "Jackie Big Tits" is a testament to the band's immaturity. The song itself is good, and is a return to the mellow sound of some early tracks, in particular "She Moves"; however, the title (and chorus) is unfortunate and prevents the song from being taken seriously.

"Time Awaits" opens with a markedly bluesy acoustic guitar before launching into traditional Kooks sound--at this point what the album lacks markedly is greater variety in sound; on the other hand, the Kooks have such an enigmatic sound going that the begged question is whether or not experimentation will deliver for fans on following albums. The Kooks end their album quietly, just as they began it. "Got No Love" is as close as the Kooks get to reflective, and it works. For such a fiery first album, the choice to open and close with melancholy tracks is interesting, but it does offer a sense of closure.

-elln

Jane Yolen's THE PIT DRAGON CHRONICLES

2009-09-07T17:25:00.000-07:00

I wish Jane Yolen wrote more books like this. In fact, I wish she wrote books like this for an older audience. If you didn't read the first three in your younger years, it might be hard to appreciate her first installment after three decades, and the final book in the quartet (yes, it's a quartet; it was meant to be a trilogy, but Yolen finally concluded the series this year with a fourth book). Dragon's Blood, Heart's Blood, and A Sending of Dragons were all written in the 1980's, and Dragon's Heart was released in 2009.

For young adult books, the politics of Penal Colony planet Austar IV get progressively sophisticated as the series continues. All the books follow the endeavors of Jakkin Stewart, a bonder working on the dragon farm of Master Sarkkhan. As arid and desert-like as Austar is, one of its major industries is dragon breeding for stews, pets, and pit fighting. In Dragon's Blood, Jakkin is unusually ambitious for a bonder, and wants to throw off the yoke of mastery by raising his own dragon; thus, when a brood is miscounted he steals away a baby dragon and begins to raise it on his own in the desert by night. Aiding him is the beautiful and mysterious Akki, the daughter of Sarkkhan; she disappears at the end of the novel, having gone to the City for unknown reasons.

In Heart's Blood, Jakkin has found success with the up-and-coming Heart's Blood, and takes her to several fights in the Rokk Major stadium; he's even won the support of the genial Master Sarkkhan, who appreciates Jakkin's drive and ambition and has given him his freedom. However, he's plunged into a world of dangerous politics when he's sent on a mission to infiltrate a rebel cell to help Akki. A struggle has begun between the ancestors of convicts (anyone with a double k in his or her name) and the wealthy feders, or off-worlders. The story ends with Heart's Blood having given birth to five hatchlings, and tragedy.

A Sending of Dragons is the strangest novel in the bunch, and chronicles the year that Jakkin, Akki, and Heart's Blood's brood spend hiding in the mountains after the disaster at the end of the last book, with their new gift of "sight," or the ability to communicate directly with dragons. They spend much of it fighting the trogs, an ancient race of people who are mute, brutish, and who inhabit the mountain and engage in dragon sacrifice to aquire their mysterious telepathic power. At the end of the novel, Jakkin and Akki are rescued and must return to civilization, hiding their dangerous new gift from everyone.

And finally, after more than ten years, a conclusion.

In Dragon's Heart, Akki makes it her mission to find a way to give everyone dragon sight without dragon slaughter; if the secret is revealed before then, the entire planet's dragon population will be endangered. Meanwhile, both Jakkin and Akki have once again been recruited by Senator Golden, the duplicitous man who had them infiltrate a rebel cell and caused them to unknowingly commit an act of terrorism.

On the whole, these books stand entirely separate from one another. Dragon's Blood is purely adventurous and blood-pumping, while Heart's Blood is the most tragic and confusing. and the end divides childhood and adulthood for both the protagonists. A Sending of Dragons is a surreal survival experience, and seems to take place on a different planet, but it certainly sets things up for the final book in which the reader feels a definite kinship with Jakkin and Akki for all of the strange things they've gone through. Dragon's Heart is the most politically-charged, and wanders into thriller territory at times; in that sense, it's more mature and also slightly disappointing. A return to the brilliant optimisn and straight-forwardness of first love and first fight of book one would have been more welcome. And after the striking realism of all four books, the ending feels empty.

These flaws are minor in the context of four of the best young adult fantasy/sci-fi novels out there. The details of Yolen's world are so simple, but so evocative. The bonder system, a history defined by crime and by names, and political strife all create a vivid world-which is the best part of the series.

-elln

The Time Traveler's Wife (movie)

2009-09-06T14:45:00.000-07:00

Henry (Eric Bana) has a genetic disorder which allows him to time travel spontaneously, arriving naked in whatever random destination he might find himself, although more often than not he intersects with his own life. Clare (Rachel McAdams) has been in love with Henry since girlhood, when he visited her from the future. And thus begins the circular question I was asking myself after the movie, and which the movie itself poses--who met whom first? Clare met an older version of Henry as a small girl, but the younger version of Henry meets Clare having no idea that he will meet her in his future, and her past. Thus it is that Clare accuses Henry at one point of having trapped her into loving him because he goes to the past (not on purpose) and imprints himself on her mind when she's a susceptible young girl.

With a brilliant premise, the movie has lots of great moments-and lots of flaws as well, the foremost among them being logic problems. Example: if Henry isn't allowed to interefere with the past, or the future, how is he able to obtain the winning lotto ticket which makes Clare and him millionaires? He can't bring things with him when he travels, so he shouldn't have been able to bring the ticket back with him. The only plausible explanation is that he found out where the ticket was bought, and purchased it in his own time the day of. Which doesn't make sense either because he's not supposed to alter the flow of events. But whatever.

The other major complaint I have is the utterly ridiculous CG caribou. I mean, it was clearly not a real caribou, so it looked really stupid and out of place. Why not just change it to a deer or something, and use a real animal in the filming?

But now on to the good points, which mostly outweigh the bad. The acting-really good (especially from scene-stealers Hailey McCann as Alba DeTamble, and Arliss Howard as Richard DeTamble). The characters-really good. Both leads are enigmatic people, but clearly troubled. McAdams' portrayal of Clare was a little stiff at times, but it did serve to get across her bohemian ice queen image. And while there were narrative problems, most of the logic makes sense when you reflect on it. A word of caution: if you are not a sap and a romantic, you will probably not like this movie. Director Robert Schwentke pours it on almost as thick as The Notebook, and betimes yanks maybe a little too hard on those heartstrings. However, it successfully reiterates the message we all love to believe--that love conquers all, space and time, etc., and in the end it's quite easy to sympathize with the character the movie is titled for--Clare herself. I found it to be a satisfactory romance, drama, and character study with sufficiently-developed characters and lovely cinematography.

-elln

Reviews Suck

2009-08-25T17:27:00.000-07:00

Our country’s fascination with the prep subculture is ubiquitous and at times unsettling. Shows like Gossip Girl and NYC Prep document the lives of the entitled and the clueless. This phenomenon carries over into books, the literary (?) equivalent of Gossip Girl and the Clique Series (the poor-man’s Gossip Girl) are quite popular as well.

Now enter Everything Sucks. Written in the vein of Prep, Everything Sucks (subtitled: Losing My Mind and Finding Myself in a High School Quest for Cool) denounces prep school life in memoir form.

Hannah Friedman gives us a highly candid look at her life at a New York private school. The daughter of one-hit wonder, Dean Friedman and a monkey-obsessed, paranoid mother, Hannah spends her childhood and preteen years in the shadow of the family’s beloved pet monkey, Amelia. She suffers humiliation at school in the form of bra stuffing gone awry and some unfortunate fashion missteps, such as wearing a bindi to school. Soon, it becomes all too much for Hannah and she enrolls in a private school on scholarship.

Determined to fit in, Hannah makes friends with the In-Crowd, who are called the Great Eight. The Great Eight are like the Plastics, but with a seven (plus) figure trust fund. They could get together with the Heathers for a good game of croquet and could tangle with the aforementioned Plastics any day of the week. Their leader, Cashmere, disregards price tags and throws a fit at her sweet sixteen when given size 6 jeans.

Little by little Hannah becomes acquainted with the intricacies of Queen Bee-dom. She dresses the part, eats as little as possible, and ridicules the less popular. Hannah feels on top of the world for a good while. She enjoys a relationship with Adam, a rich upperclassman who has a bit of a pot problem and a chip on his shoulder. But, soon things begin to spiral out of control. She develops an “overreliance” on Adderall, cocaine, and purging.

Things come to a head for Hannah when college application season comes. The students become even more cutthroat and she writes a cathartic essay that is published in Newsweek about her experience in the application process.

In general, Hannah’s story is something that will be very familiar to many teenage girls, regardless of income or region. It is about one girl’s strong need to fit in with her peers and how far she was willing to go to achieve it. As a teenage girl I found myself cringing with her at the familiar moments of angst and embarrassment. However, there were moments when I wanted to personally tell her that these people were not worth anything that she put herself through.

Despite her fear of freakdom, Hannah Friedman gives us an honest account of how much prep school can suck.

-Acerbec

Elln's Top Ten July '09

2009-07-31T20:02:00.002-07:00

Well, it was tough this week because Dashboard's The Shade of Poison Trees cover is very pleasing to the eye. But I think The Thrill's Teenager cover is so classic, I couldn't resist. So there it is in all its honest, hormone-crazed glory.

1. "Modern Love"/David Bowie-Admittedly, I've never been a huge Bowie fan, but I've been listening to the Adventureland soundtrack a lot lately. His glam rock is powerfully addictive and sort of commercial, while also being musically clever, respectable, and viable. He also incorporates jazz into his rock, evidenced by the saxophones. His lyrics are nonsensical, but somehow make sense. So what I'm saying is that he's essentially a walking, singing paradox. Yeah, I dig those.

2. "Ain't No Rest for the Wicked"/Cage the Elephant-Ah, thank you, something straight-forward. While Cage the Elephant betrays southern roots here with a little country and folk twang, this song is purely mesmerizing rock and roll. The saga-like story-telling lyrics are all folk, but the acoustic guitar hook is 100% clever, polished rock.

3. "Don't Dream It's Over"/Crowded House-Another gem from the Adventureland soundtrack, Crowded House sounds like a band that was an '80's one-hit-wonder, though they actually went platinum in their native Australia for the release of their fifth album, Time on Earth. The song is relaxed with an undeniably mellow, catchy hook, and a sort of melancholy main-stream appeal--like a pared-down, much shallower version of a Smiths song. Which doesn't make it any less good.

4. "The Midnight Choir"/The Thrills-Teenager, Dublin rockers The Thrills' third album, signifies a break from their usual California-inspired classic surfer music love affair to more morose, carefully crafted alternative stuff. While the California guitars are still there, the vocals have become significantly more stylized. "The Midnight Choir" is surprisingly fast-paced for a song playing with nostalgic sadness, but the odd combination works in interesting ways.

5. "Gold Lion"/Yeah Yeah Yeahs-I'll be the first to admit I've never understood the buzz around the Yeah Yeah Yeahs. Perhaps with time my opinion will differ, but for now "Gold Lion" remains my favorite offering of their range of spare garage rock revival offerings. The rawness of Karen O's vocals and the meanness and simplicity of the guitars make the beat of the song easily accessible so that it becomes, almost against the listener's will, addictive.

6. "Our Lips Are Sealed"/The Go-Go's-Another band I'm not such a fan of, the Go-Go's are undeniably one of the quintessential bands of the '80's, and "Our Lips Are Sealed" makes it apparent why. Using clever and direct arrangement and instrumentation, the Go-Go's power-pop sound is well-honed and well-crafted for easy listening.

7. "Swollen Summer"/The Bravery-Okay, it's one of the dumbest songs ever from an album which is stunningly mediocre. But I still love it. I can't really justify it, except that those siren-like guitars and the lyrics "looks like a swollen summer/what if I'm getting dumber?" have wormed their way into my heart over the years. Hey, I'm allowed a guilty pleasure, aren't I? Besides, it's a perfect summer song to obnoxiously blare out the car windows.

8. "Moment"/Gran Bel Fisher-You have to at least give him credit for not singing about love, drugs, depression, or surfing. Instead, GBF sings about being in the moment, and music. So yeah, not terribly original, but not generic, either. This is pretty standard college rock, but it helps that his voice is smoky and rather sexy, and it has a nice southerny tinge to it.

9. "Diamond Hoo Ha Man"/Supergrass-Supergrass is kind of an interesting band; they're classified as alternative, though they kind of steal superficial genre styles from all over the place. Anyway, this strange gem is a catchy song about a thief...who is either personifying his diamonds in an extended metaphor ("I gotta get you in my suitcase"), or is a serial killer putting women in his suitcase after he "love[s] [them] all night long." What I was talking about with the superficiality is that though the guitars are unnaturally heavy and low in the song, the song itself isn't particularly weighty.

10. "Fever Dreams"/Dashboard Confessional-Ah, why can't you put out more delightfully compact pop songs like this, Dashboard? Why do you have to walk the fine line of emodome all the time? This is one of the rare Dashboard songs I actually like, probably because it stays on the acoustic side of things, Chris Carraba manages to sing mostly from the chest and not the nose, and the lyrics are sweet and honest.

-elln

Revolutionary Road (movie)

2009-07-31T20:02:00.001-07:00

Frank and April Wheeler are the ideal young couple in 1950's suburbia--bright, vibrant, and convinced that their home on Revolutionary Road isn't permanent. Frank and April's huge argument erupts as a result of that dream shattering, with Frank's dead-end job not exactly lending itself commensurate to his romantic visions of life. April suggests a return to the spirit of youth and spontaneity in the form of a move to Paris, and Frank eventually agrees, but it seems that life and reality have other plans for the couple.

This movie has so many powerhouses behind it, it's hard to imagine a version where it turned out badly. It's directed by Sam Mendes, who did American Beauty which is a gorgeous, gorgeous film; it reunites Mendes' very own wife Kate Winslet with romantic Titanic co-star Leonardo DiCaprio; it's got Kathy Bates; and it's based on one of the greatest triumphs of modern fiction, Richard Yates' novel of the same name.

The direction is a visual feast, and credit must be given to the set designer--I even recognized earthenware my grandmother had from the fifties.

But on to the characters, and the plot, and the writing. The examination of the relationship between Frank and April (and Revolutionary Road) is the key to the entire story; in fact, one reason I had so much trouble relating to them was that I couldn't imagine any normal people who paid so little attention to their children. Most of the time the children didn't exist in the film (probably an authorial and therefore directorial choice to lend more focus to the leads--but it's still incredibly jarring that the children appear briefly, and only when it's convenient).

The film got its point across very cleanly, and the tragedy was unpredictable without knowing the source material. Frank was relatable as a character until he sold out for security; unfortunately, April's character was chilly at best, although by the end she had somehow become the most sympathetic. This movie is an odd creature in that it brings you so incredibly close to two human beings, yet a connection is still difficult to establish. You can only sit there, wishing you could change things for the better, hoping you can knock some sense into these people as Helen Givings' (Kathy Bates) lunatic son tries to do (played in a stunning performance by Michael Shannon). And while Winslet and DiCaprio's performances are central to the film, the tremendous talent of the supporting cast truly evens out the tone of the film.

Unfortunately for us, tragedy is inevitable, and in an ironic twist of fate it's no longer Frank we sympathize with, but April. And while it may be enlightening and gruesome to watch the drama unfold, I have to question how much of a ring of truth some of it felt. Aside from the children not existing, a lot of the explosive fights had dialogue that felt a touch histrionic, with many "Oh God, April,"s, and "Jesus, Frank"s. Sometimes this was even enough to distract from the scene when I had to ask myself Would this really happen? Would someone just come out and say that? A brilliant film in the study of the human condition, and phenomenal taken as a whole, Revolutionary Road nonetheless lacks the heart and relatability which make so many other films a success. That doesn't make it any less worth seeing, though. Just don't expect to get too invested.

-elln

PAPRIKA

2009-07-31T19:33:00.000-07:00

If America is the King of Live-Action, then no one can compete with the King of Animation: Japan. If you know anything about film outside of America, that fact should be obvious. And if you follow film here, you may recall a shining gem called Spirited Away which won a 2001 Oscar for Best Animated Feature and is, according to Wikipedia, the highest-grossing film at the box office in Japan ever.

Don't worry, all of this has a point. Because you see, the director of Spirited Away may be the only widely-known anime director in America, and the term "widely-known" is optimistic. The man who should also be acknowledged is Satoshi Kon, who has made everything from the R-rated Perfect Blue to the family-friendly Tokyo Godfathers.

Paprika came out in 2006 to relative laudation and notoriety here in the states, as it well should have been. The movie is a visual masterpiece, with its story bested only by its artistic direction. Kon is the master of confusing dreams and reality, and this movie is written to give him the best excuse he's ever had to show off that particular talent.

A new device called the DC Mini has been developed in the near-future, and it allows people to record, play back, and even enter, other people's dreams. Developed by Dr. Kosaku Tokita, an immature genius whose incredibly obese body houses the mind of a child, his associate Dr. Atsuko Chiba hopes to use the device to treat her patient's psychological illnesses. The device is controversial, however, as the hospital director believes it's a dangerous invasion of privacy. All hell breaks loose, however, when the device is stolen while it's in the development stage and before it's legal. Suddenly, acts of terrorism by the thief via the DC Mini begin to break down the walls between reality and dreams, and it's up to Dr. Chiba and her dream alter-ego, Paprika, to stop the collision.

The visuals are done by Madhouse Studios and they're a sumptuous feast for the eyes; the opening credits sequence is especially clever. The plot itself isn't that complicated; it's the progression of events and the strange sliding of the dreams that keep you unequivocally involved. It's a movie with more width than it has depth, but it has enough depth to make you think about the implications of future technology-both the good and the bad. Most of the time you're so overwhelmed (in a good way) that it's just enough to sit back and enjoy the ride. Although the villain's story regresses from genuine concern over, perhaps, mankind's other final frontier, to a power-trip, the other characters are so full of eccentricities that it's easy to miss his deficiencies. Also, Susumu Hirasawa's music is ethereal and zany.

I haven't seen the sub, although I should see it; however, to get a full experience and focus on the visuals, I would highly recommend the excellent English dub.

If you're a fan of luscious, surreal experiences, thrillers, drama, science-fiction, gorgeous direction, and mind-blowing stories which require an open mind, this is your movie.

-elln

Public Enemies

2009-07-31T18:54:00.000-07:00

John Dillinger (Johnny Depp) is America's Most Wanted criminal in the 1930's. A notorious bank robber, his notoriety soon becomes his undoing as crime syndicates begin to see him as a liability and J. Edgar Hoover (Billy Crudup) sends his best agent Melvin Purvis (Christian Bale) in pursuit of Dillinger in a push to establish the FBI.

Enemies is an interesting movie- intense, dark, and racy in atmosphere. Dillinger's fling-turned-love with Billie Frechette (Marion Cotillard) is impulsive and seems poorly developed except that it somehow manages to make its few scenes genuine. Dillinger's character is fascinating. He is portrayed as extremely loyal to friends and family, and he prioritizes public opinion directly after money and Billie. He also totes a gun all the time in the film, but rarely kills anyone, preferring to take hostages over murdering. Speaking of which, on a side note, there is a good one-minute or more spent on a massive gunfight and I've never heard Dolby SurroundSound that loudly. Bad choice on the volume-I was this close to covering my ears.

I'm a Christian Bale fan and he definitely delivered as hard-nosed agent Purvis, blurring the moral lines between the FBI and the criminals they hunt (particularly relevant to the last eight years, eh?). Depp's performance was excellent too- it's always nice to see him outside of his weird roles (such as that awful adaptation of Charlie and the Chocolate Factory). Cotillard was the warmest and most compelling of the bunch, however.

I had two main issues with the film. The first is more minor but nevertheless important: the score. It was inconsistent to the point of eye-rolling when instead of the lovely '30's jazz or folksy bad boy tunes we got sweeping orchestral scores for scenes that didn't really deserve it. Scenes involving Billie were especially susceptible.

The other flaw of the film is that it can't decide (or rather Michael Mann couldn't decide) if it's a hard, gritty take on a real-life infamous public figure, or a throwback to classic gangster movies with all the romanticism and bravado of idealized tragic crime. Still, it makes for an interesting dichotomy, and if you like history, particularly American crime history, and intense character-studies, this is a must-see.

-elln

Harry Potter and the Half-Blood Prince (movie)

2009-07-31T16:51:00.000-07:00

After the near-travesty of the fourth film and the "business-as-usual" tone of film #5, I went into Half-Blood Prince decidedly apprehensive-and I left it pleasantly surprised.

For those who have been following the movies, a short synopsis: Voldemort has come into the open and Harry is being heralded as The Chosen One. Harry, Hermione, and Ron return to Hogwarts School of Witchcraft and Wizardry amid the chaos of Death Eaters in the open, and Hogwarts is quickly becoming their last oasis. But while hormones are running rampant, Dumbledore has a special mission for Harry: to delve into the past of Tom Riddle a.k.a Lord Voldemort and unravel the secret to defeating him.

I'll first comment on how beautiful the cinematography was. Even book purists shouldn't mind the burrow-burning scene just because of the wheat field film. The arrangment of objects within the frame, the lighting, and the transitions were all spectacular.

On top of that, it helps that the sixth book isn't action-packed until the end. Yates shines as a director when given the time for character development and exploration. Sure, a few key scenes are cut from the plot (most noticeably the Marvolo Gaunt ring backstory, which I expect will be worked into one of the two next films) but the film moves at a much more comfortable pace than its predecessor. It even manages to tackle teenage heart break in a realistic and touching fashion; the Harry Potter movies haven't been this good since The Prisoner of Azkaban. On the other hand the film could have spent less time on Draco Malfoy, and developed the Harry-Ginny relationship past the staring-and-drooling-intensely-at-each-other part. Lastly, I have to say that I miss Richard Harris sorely. Michael Gambon doesn't do it for me.

-elln

Danger Mouse and Sparklehorse Present: Dark Night of the Soul

2009-07-05T13:29:00.000-07:00

Don't go looking for this in stores, kids. It's not legal yet due to a dispute between Brian Burton and record company EMI, so instead Burton & co. have been selling the 100+ page photography narrative done by David Lynch as well as a CD case with a blank CD--subtly encouraging legally questionable downloading of the album.

And what an album it is. I hope they work the deal out because I can't remember the last time I so fell in love with an album. Danger Mouse of Gorillaz and Gnarls Barkley fame has teamed up with lesser-known electro-rocker Sparklehorse and multiple musical powerhouses to create an absolute gem of an album.

We start with "Revenge" featuring The Flaming Lips, and if you've heard anything by the Flaming Lips the bell in the opener of this song gives them away in a second. The song is dark and moody but also laid-back. It's absolutely gorgeous, floating along on a psychadelic wave, building up to smooth and painful choruses and then cresting gently down. "Just War" features Gruff Rhys of Super Furry Animals, with whose work I'm unfamililar. While electronic elements are certainly present, there's a little country thrown in with the rock. Much of the album overall is tough to classify, something I consider to be a true triumph. This is a song which grows on you because of the hook, especially the hard-hitting keyboard; it continues the mellow tone of the album as a whole. "Jaykub" is an odd little animal. It features Jason Lytle of Grandaddy and sports a distinctly folksy sound over the experimental noises in the background.

The cool and collected tone of the album continues with the next track, one of the crowning jewels of the album entitled "Little Girl" and featuring Julian Casablancas of the Strokes. While Casablancas' influence is certainly present, the subject matter is much darker and more sohpisticated than the Strokes' usual fare, which only serves to illustrate the power of the collaboration. I don't know what else to say except that it couldn't really be a more perfect song.

The mellow atmosphere of the album breaks when we get to Black Francis' guest vocals on "Angel's Harp." Again, though, the album seems to have toned things down as the song doesn't really have the same rawness of Pixies songs, nor are Francis' vocals particularly screechy. It's a weird song and will probably please fans but not necessarily the unconverted. In fact, I'd say this song and the next track, "Pain" featuring Iggy Pop, are album weak points. Since it's hard rock and not tightly crafted pop or purist punk, it's a lot tougher to get away with repetitiveness.

David Lynch (who is normally an avant-garde director) holds his own vocally as Danger Mouse and Sparklehorse return to psychedelic meandering dream pop with "Star Eyes (I Can't Catch It)." Jason Lytle returns to sing in the eerie, haunting, regretful "Every Time I'm With You," which is completely different from his earlier appearance on the album. The driving force of the song is a sort of muffled distorted circus tune in the background layered behind a quiet piano and other synth effects. "Insane Lullaby" has an even stranger array of synth, electronic, and occasional orchestral noises. However it features one of my personal favorite guests, James Mercer of The Shins. Unfortunately, no matter how strangely compelling the song is, I'm not sure the music complements his voice quite.

The album goes out of experimental mode and back into a some country swing with Nina Persson of The Cardigan's vocals unobtrusively crooning in the background. "Daddy's Gone" is a sweet, relaxed tune, but not a particularly strong one for the album. "Daddy's Gone" is followed by another of the album's subtly power-packed highlights, "The Man Who Played God." Suzanne Vega sings beautifully for this mellow treat, supported by pretty acoustic guitars. In "Grim Augury" the off-kilter, mournful circus/showtune returns in the background; the vocals are by Vic Chesnutt, another solo artist whose work I'm unfamiliar with. The lyrics are sad and blues-like, and the modernized blues continue in the final track, "Dark Night of the Soul," which sounds like something one of my favorite artists might concoct. The album ends on a lingering, eerie, and distinctly electronic combined with blues/soul note.

This album is short, sweet, low-key, and magnificent.

-elln

Elln's Top Ten June '09

2009-06-30T19:47:00.003-07:00

Hands down Death in Vegas' Scorpio Rising cover wins this month.

1. "Amber"/311-Can't say I'm a big fan of the punk-reggae-crossover 311 usually is (which means they failed as a Ska band) but damn this song is real pretty for stoner music. It has an addictive, luscious beat and chill lyrics, if you get my drift. They're also strangely poetic.
2. "There's No Other Way"/Blur-Yay, more '90's British grunge rock, although I often hesitate to put these guys in with Oasis since they're generally more upbeat than the gritty Gallagher brothers. "There's No Other Way" is mellow and laid-back and perfect for summer driving.
3. "Girl"/Beck-Another perfect summer song with Beck's usually cryptic lyrics although the gist of this song is actually understandable-the guy in Beck's song has his eye on a girl and he knows he's going to nail her. This is a pretty classic summer song, low-key and relaxed (when is Beck not low-key and relaxed?).
4. "So You Say You Lost Your Baby"/Death in Vegas-DiV has got to be one of the most eclectic bands I've ever heard, ranging from rootsy rock to weird electronica to grunge rock. "So You Say" is pretty standard rock fare with lyrics and vocals reminiscent of Southern roots rock or even country. It's also mellow summer music-fans of, say, Kings of Leon would probably enjoy this song.
5. "Ramble On"/Led Zeppelin-Before now, I really haven't put much stock in Led Zeppelin. I viewed them as a less talented, less musical version of the Grateful Dead. Plus they technically started the Heavy Metal movement (although if Heavy Metal had stayed the way they played it, I'd have less to complain about). Listening now, though, I can see why they're so addictive. The music has such a wide range of influence and the simple melodies end up pulling you in. I maintain that they're probably more fun to play than to listen to, but I'm thoroughly impressed with the Lord of the Rings references in this song.
6. "Sun Children"/Nickodemus-They're classified as alternative when they really should be world, but Nickodemus produces a solid effort here. "Sun Children" is addictive with a distinct latin flair and actually good rapping.
7. "Karma Police"/Radiohead-This isn't a summer song, but it's still damn good. Reminiscent of a darker, more spare Coldplay, Radiohead will never share Coldplay's widespread commerical success but I think I like them better than Coldplay. It's slow but it doesn't plod in any way, and the piano is the real powerhouse of the song.
8. "Lovers in Japan (Osaka Sun Remix)"/Coldplay-Did I just say something bad about Coldplay? I take it back. "Lovers in Japan," at least this remix, proves once again that they are the masters of universally sweeping, beautiful confections. And don't get the original, get the remix.
9. "Jerk It Out"/The Caesars-Despite the questionable subject matter, the catchiness of this song is unquestionable. The fast tempo in this undeniably alternative, light-weight tune has been featured in numerous commercials.
10. "The Guitar Man"/Cake-A long-time favorite of mine, Cake rarely, if ever, gets this serious. This song is a perfect laid-back melody for summer, complete with light-as-a-feather guitars and infused with melancholy. The best part of the song is the wistful lyrics which are both clever and poignant.

Well that's it for this month. I'll try to keep it a little more upbeat and summery next month.

-elln

Lisa Carey's IN THE COUNTRY OF THE YOUNG

2009-06-30T19:47:00.001-07:00

In the Country of the Young tells the story of Oisin MacDara, an artist who has isolated himself in a tiny Maine community due to horrific tragedy in his childhood, after which he lost the ability to see ghosts. Oisin is enigmatic but lacks social skills because of his hermitage and his unwillingness to interact with other people. It will take the arrival of a ghost from a shipwreck more than one hundred years ago to bring him back to life. And though Aisling isn't the ghost Oisin has waited half his life for, the literally dead and the figuratively dead will both get a second chance at life.

This is the book that makes me believe in ghosts, it's that beautifully written. If you love a good drama, a good romance, and a haunting tale of rebirth and recovery from past scars while at the same time characters drown in the past, then this is the book for you. As always, Carey's writing style is poetic and full of metaphorical language. She weaves dreams and reality, life and death, and intersecting stories together so seamlessly it's tear-inducing. Both the chronicles of Aisling and Oisin, and Oisin and Nieve, are stories to move the heart.

What else, really, is there to say about perfection?

-elln

Charles Frazier's COLD MOUNTAIN

2009-06-30T19:46:00.000-07:00

Cold Mountain is a lyrical masterpiece, detailing two odysseys with gorgeous metaphors and simple, unembellished language. The story is of Inman and Ada in the Civil War South. Ada is in the Scarlett-esque situation of having fallen from great wealth into poverty with lots of resources. She is owner of a large farm but has no idea how to run it until vagrant Ruby appears, demanding respect in exchange for working on the farm. Inman, her pre-war sweetheart, has deserted the army after a seemingly mortal wound to the neck and a dream convinces him to visit Cold Mountain and return home.

Though Inman's story retains dream-like, almost hallucinogenic qualities narrated by a down-to-earth, disillusioned tone, it is Ada's struggle with the earth which drew me in more. Ada is actually the less likable of the two, but she grows a lot throughout the book and her expectations of life become a lot more realistic.

Perhaps because I knew the ending it didn't pack so much of a punch. The book's main letdown is that it focuses too much on the characters individually, and not on Inman and Ada's pre-war relationship. Maybe the point Frazier is making is that Inman left in the middle of a budding relationship-at the dropping off point between cursory moments and true intimacy. Their parting's awkwardness lends their relationship an insubstantiality, especially when they reunite.

The book's main strength is in Frazier's heart-felt, simple delivery, poignant metaphors, and gorgeous description. I'd read it just for the beauty of the style.

-elln

Jeffrey Eugenides' THE VIRGIN SUICIDES

2009-06-28T11:16:00.000-07:00

Before I say anything, I'd urge people interested in purchasing the book (or film) to check out all the awesome covers available. The photography and graphics of just about every version of the work are stunning.

Composed of run-on sentences and pieced together in a reporterly manner, The Virgin Suicides is a technical masterpiece. The book tells the story of the Lisbon family living in suburbia, and the suicides of their five daughters Cecelia, Mary, Bonnie, Therese, and Lux. The entire book details the suicides from the viewpoint of the neighborhood boys who are obsessed with the Lisbon sisters as they try unsuccessfully to determine the reasons why the girls took their own lives.

The book makes effective use of rambling description and an investigative manner, piecing together accounts from neighbors, psychologists, and basically any person who came into contact with the Lisbon girls prior to their deaths. The style is what makes the book captivating, however if Jeffrey Eugenides’ goal is to make us fall in love with the Lisbon girls as much as the neighborhood boys are, he fails by a slight margin. The girls are too impersonal, too cold and isolated, and there is no way to sympathize with them; it’s often hard to understand the boys’ obsession with girls who, when they open their mouths, rarely say anything intelligent.

The true satisfaction in reading the book comes in trying to piece together a mystery, but we are told at the end of the book that there is no answer. Surely it’s a true-to-life answer, but a rather disappointing revelation.

The reason the book is captivating to the degree it is is the writing style. Words are juxtaposed in profound manners, paradoxical statements make regular appearances, and the text has a sense of continuous almost stream-of-consciousness feel to it. The novel, while probably meticulously planned, feels fresh and spontaneous. That is its best quality.

-elln

Angels and Demons the Movie

2009-06-19T07:05:00.000-07:00

Angels & Demons is a prequel to the famed The Da Vinci Code film and book, but it's no wonder they started with Da Vinci. Angels & Demons offers up a lot of treats, but it doesn't reach its predecessor's level of engagement or clever script-writing.

The basic premise is that Harvard symbology professor Robert Langdon (Tom Hanks) is being called to the Vatican once again (in the movie the Da Vinci affair is treated as though it happened first) to solve the mystery of a secret society called the Illuminati, rumored to have disappeared ages ago. Unfortunately, the Illuminati have returned and are taking the Preferiti (the men most likely to become the next pope) hostage, bent on killing one every hour until midnight in revenge for wrongs done to the Illuminati by the Catholic Church in the distant past. On top of this there's a stolen vial of antimatter lurking somewhere in Vatican city set to explode around that same time, creating a massive nuclear-esque total devestation. Major players besides Langdon include Dr. Vittoria Vetra (Ayelet Zurer) who desperately wants to recover the antimatter she helped create, Commander Richter of the Swiss Guard (Stellan Skarsgard) is being suspiciously uncooperative, and the Camerlango (Ewan McGregor) wants to save the people of the Vatican city while investigating the Pope's recent death.

This movie has several strengths, including directing and pacing, as well as the simple pleasure of seeing parts of the Vatican the public eye will never be privy to in life and some of the finest sites Rome has to offer. In terms of a mystery/thriller it's fast-paced and entertaining with several twists. But a glance beneath the surface reveals several gaping plot holes not easily explained away--for instance why the perpetrator lines up the clues so neatly for Langdon, and then tries to kill him in the middle of the movie. Or why Langdon can enter a church and within two seconds declare, "the angels are pointing to it!" and run wildly down the street. Also be prepared for a really nasty rat-eating-decayed-face scene, and little to no character development.

Also Ewan McGregor steals every scene. Because he's just that amazing.

All in all it's the script which has the real problems. If you're just looking for a fun, engaging ride this is your movie, but be sure to keep it cursory.

-elln

Elln's Top Ten May '09

2009-05-24T15:17:00.000-07:00

This month's cover is from Partie Traumatic although Brain Heart Guitar was a close second. They were just too cute to not do. I'm a sucker for unicorns.

1. "Tina"/Louis XIV-these modern glam rockers are back, and they seem to have grown up. They've progressed from lyrics like "I said hey short girl you're like a midget/You can turn a phone cord into a widget/She said you son of a bitch you little bitch" to "well I saw you leaving the other night/with a dark haired guy on a motorbike/and all my friends say they saw you drunk in the clubs/talking really loud about how you're in love." They're one of David Bowie's favorite modern bands, and Bowie might as well be singing (although maybe he actually is since he has guested with them before). The tune is highly infectious, however, so I'd suggest talking it out.

2. "Impossible Germany"/Wilco-to switch gears entirely we have the most laid-back modern and somewhat popular folk-rock act of the era. Wilco delivers the comfortably mellow tones they're known for, and the lyrics are deliciously cryptic.

3. "Look At Me (When I Rock Wichoo)"/Black Kids-I'll end up reveiwing Partie Traumatic at some point, but for now I'll do the song that's been stuck in my head for five days straight. Black Kids have been nothing but wild, nostalgic fun throughout their short career. This song is no different, mixing lyrics which aren't particularly clever (or make much sense) but they're freakin' catchy for some reason (such as the girls singing "you say baby, we say bump it, all you wanna hear is Gabriel's trumpet). Dance beats are liberally layered over electronic guitars and sliding basslines for a very shiny, polished sound.

4. "Add It Up"/Violent Femmes-Here we have the exact opposite, a totally unpolished sound from a group that's been around forever but hardly gets recognized outside of Wendy's commercials. This garage-band misanthrope rite-of-passage music is lots of fun if you can get past the incestual themes.

5. "Cannibal Queen"/Miniature Tigers- They're back with a much pop-oriented sound than their earlier EPs, and I must say I'm not sure how much I dig it. But "Cannibal Queen" has clever enough, strange enough lyrics to merit a listen.

6. "Dropkick Queen of the Weekend"/The Dudes-They're as strangely addictive as ever with this alt rock confection. I mean, for starters what the hell is a "Dropkick Queen of the Weekend"? But it's still a damn good song with interspersion of some heavy guitars.

7. "Train in Vain (Stand by Me)"/The Clash-Ah yes, The Clash, one of the only survivors from the early Punk movement and just about the only band from that time period to produce songs with meaningful, political messages...except not this one. "Train in Vain" is just frickin' catchy, and it's about the same-old-same-old love and betrayal. I think it might be Strummer's howling vocals which actually lend qualification to the heartbreak, and I do love that harmonica.

8. "Dreaming of You"/The Coral-The Coral's music is anything but traditional; in fact, this song is a mixture between a kooky circus band and folk with doo-wop chorusing vocals. They had massive hype at one point, although that died away fairly quickly as they're not prolific by any means. Anyway, "Dreaming of You" is a gem of a song, with a range of eclectic influences packaged together neatly and beautifully.

9. "Talk Amongst Yourselves"/Grand National-From the sparse, pared down sound of The Coral we migrate to lush electronic collaborations. "Talk Amongst Yourselves" is a wildly addictive sort-of dance number which screams mellow but catchy. It's completely synth except for delicious strumming guitars, also electronic and not in the least bit acoustic. This is a very shiny song, and I wish I had better words to describe it.

10. "California (All the Way)"/Luna- It may take a while for "California" to grow on you, but it's a real treat once it does. Luna mixes classic california rock with a tinge of pop, and lyrically folksical words (I love making up words). The song is a slow build-up to the main guitar line, but seriously worth the wait.

-elln

STAR TREK

2009-05-17T17:41:00.000-07:00

You know those big-budget films that come out every once in a while that restore your faith in Hollywood's production companies? This is one of those, ten-fold. Sure it's still technically a remake/incarnation/alternate retelling, but it'd be pretty damn hard to do it better than this.

James T. Kirk (Chris Pine), son of a dead revered commander who died saving the lives of James and James' mother, is convinced to go to the star fleet academy where he first butts heads with superior officer half-Vulcan half-human Spock (Zachary Quinto). Soon, however, the inexperienced cadets are called on an emergency mission and James stows away on the USS Enterprise, a ship which comes face to face with the Romulan ship who annihilated James' father the day of James' birth.

This package is very bright and shiny, and the action just keeps on coming. J.J. Abrams is directing, and though I haven't seen any of his other work he's earned himself a fan in this girl for solid edge-of-your-seat pacing, and the right balance of character development time interlaced with all the action. Of course he was working with friends Roberto Orci and Alex Kurtzman who wrote the excellent script. There was minimal exposition and great snappy dialogue, not to mention barking moments of brilliant black comedy.

Then there's the nod to be given to the technical stuff. This is what we should be using it for, not crap films where Will Ferrell is running away from a giant CG T-Rex. The special effects were awesome (my favorite scene has to be their crash landing on the giant drill). Also this is my nod to the soundtrack.

And finally ERIC BANA!! That's right bitches he gets his own section. He plays Nero and he's basically Hades combined with an evil version of Caesar with some sexy mixed in (ooh...that gravelly voice). First of all props to his costume/look designer because it took me half the film to recognize him. He actually had a good reason for why he wanted to kill James & co. (and no, it wasn't because he wanted to take over the world) and he made me sympathize with him in the fifteen seconds of explanation he got.

So even though this felt like a prequel and explained how James became captain of the USS Enterprise and got his crew together, it was amazing. One thing I was particularly impressed with was the character developments of Spock and James, and the choice of love interests. While I'm sure James' love interest is truly just around the corner, the choice was daring by the writers to leave her out in this film. It left time for James to focus on himself and only himself, on why he was doing what he was doing and what he wanted to accomplish. In contrast, giving Spock a human lover (even though he's a slightly secondary character to James) when he was struggling with his being half-human and half-Vulcan brought out his humanity.

This is a must-see.

-elln

Harry Mulisch's THE ASSAULT

2009-05-17T11:09:00.000-07:00

The Assault is a haunting, fascinating look at the effects of one traumatic event on a single life. The novel traces the events of a small neighborhood in Holland at the tail end of WWII. Anton Steenwijk is a twelve-year-old boy living with his mother, father, and brother Peter; his neighbors include the reclusive Aartses, the Kortewegs, and the kind elderly couple the Beumers. However one night before the end of the war a highly unpopular local S.S. officer, Fake Ploeg, known to be the perpetrator of many heinous crimes, is shot in front of a neighbor's house by the Underground (the resistance). Anton's neighbors, the Kortewegs, move the body in front of Anton's house (ironically named Carefree), and thus Anton's house is burned to the ground and his entire family is executed by the S.S. in retaliation.

The book follows Anton's life after the incident-his attempt to lead an inconspicous life, his conscious burial of the past, and his repression of his memories. There is a distinct struggle between fate and existentialism as over the course of Anton's life he comes into contact by chance with the people involved in that night-first the Beumers, who witnessed the execution; Fake Ploeg's son, blinded by love for his father; the man who shot Ploeg knowing the potential consequences for a family in Anton's neighborhood; and finally a member of the Korteweg family who helped move the body.

The book is translated, but the style comes through as stark and crisp. Metaphors are spare but effective when used, however symbolism is rampant (e.g. key, stone, boats).

Anton's unintended exploration of the past is just as riveting as the ultimate conclusion he reaches about the events of that night, and we can only sit, captivated, watching his unwanted journey. Anton's own ambivalence and unwillingness to judge others creates an environment where we can only take things as they come and be just as perplexed as Anton. The book blurs the lines of morality completely, throws right and wrong into chaos by presenting entangling situations, and challenges the concept of who we blame for events which happen in life.

-elln

Doves' LAST BROADCAST

2009-05-05T18:59:00.001-07:00

You can't really ask for a sophomore album better than The Last Broadcast; in fact, it's my favorite Doves album to date. Doves are newprog rock simply because their range of influence and sound is so huge, they don't really fit anywhere else. They experiment with the synth and electronic effects of space and psychadelic rock, yet other songs hum with folk or alt rock influence.

We open with a Verve-esque intro, and then go straight into "Words" which is one of the only comfortably rock songs on the album, albeit echoing lovely lush wall-of-sound rock. I mean, talk about a way to start an album; you know those songs that try to be all epic and fail? This isn't one of them. "Words" screams epic, and throws off the melancholia that will blanket the rest of the album. "There Goes the Fear" fits in the category of alt rock, with a surprisingly sunny guitar line and the typically progrock shying away from pop song format (verse bridge chorus repeat). "M62 Song" shows the diversity of the group as it delves into some beautiful, beautiful acoustic/folk. "Where We're Calling From" is a nice little experimental instrumentation, and adds to the ambience of the concept album (though I'm generally unappreciative in this area and prefer full-fledged songs).

What it really should have been is part of one of the album's highlights, "N.Y." a track that opens with mean in-your-face buzzing grunge guitars, and then slides into much prettier strumming guitars. The song is so carefree and optimistic (I sometimes wonder if it isn't a direct answer to Bono's version on All That You Can't Leave Behind, but that's just very far-fetched personal speculation.) Anyway, the song is frickin' catchy and cleverly crafted, and you can just eat up those buzzing guitars. "Satellites" is next, opening with women singing spirituals over synth and clapping; here we have the quintissential example of why prog rock is so awesome--spirituals and blues are seamlessly layered over echoing indie rock. "Friday's Dust" kicks into ballad gear, opening with the lyrics "Friday's dust turning into a Saturday's." The orchestral arrangements such as the tremeloing violins really add here, as do the strange cave-like echoes.

"Pounding" is an absolutely brilliant song; it starts out sounding like Coldplay for the first 3 minutes with Jimi Goodwin sounding substantially like Chris Martin (they are actually sort of contemporaries), and deemphasizing the guitars in exchange for synth effects and a literally pounding drumbeat; then at 2:54 Jez Williams' awesome guitar line makes its entrance. The finished effect is stunning. No offense, Coldplay, but you've been outmaneuvered. The title track is actually fairly subdued compared to earlier tunes, but for all its seemingly lo-fi atmosphere, it actually moves at a pretty fast pace, lending it an air of quiet freneticism to "Last Broadcast"; the track embodies Tragic Gloom, especially thanks to the echoing vocals.

One of my album favorites is penultimate song "The Sulphur Man" which has some of the most direct and best lyrics on the album: "fate brought you next to ghosts/they talk in code looking for a way out/I hope you want to live a day and learn to cope/I hope you find what matters/through the streets and on your own/almost lost and almost home/we'll be looking all we can/we'll be looking for the sulphur man." It begins with a dark orchestral segment, and then transitions to echoing aggrandized alt rock; the melody dips in and out of minor key, leaving the listener unsure as to where its going, but still enjoying the ride.

"Caught By the River" is probably the most commercially viable song on the album, which doesn't make it any less good; it's a nice closer. The lyrics start out folksy, and then transition to a much more general message. The song is simple, layering harmonies and acoustic guitar with the synth and effects we've learned to expect by now. The song isn't complicated, but it's infectious as Doves do what they do best--build the song. They end with crashing waves of sound reminiscent of Oasis or the Verve.

This is definitely one of my favorite albums of all-time, and it's damn near flawless.

-elln

Lonely Island's INCREDIBAD

2009-05-05T18:04:00.000-07:00

Incredibad proves a suspicion I have long been harboring in the back of my mind: Andy Samberg is not likely to ever win a Nobel Prize for Literature. If he was on your short list, take him off. I’d recommend reconsidering that bet you were thinking of making in Vegas. Especially in this economy. It’s just not in the cards for him.

Of course, Incredibad also proves the other suspicion I’ve been harboring: Andy Samberg is, in fact, nothing short of a genius of comedy that seems incredibly dumb but actually turns out to be just mostly dumb. The debut CD from Samberg, Akiva Schaffer, and Jorma Taccone is chock full of gems that trigger even the biggest downer’s laugh-out-loud impulse.

I say debut CD because many of the songs on Incredibad have been around for a while. Aficionados of Saturday Night Live or YouTube are likely to recognize “Lazy Sunday,” “I’m on a Boat,” "D*ck in a Box," and "Like a Boss"; and we’ve all heard “J*zz in My Pants” at least once.

We’ve heard the songs, yes–and therein lies the beauty of The Lonely Island’s comedy. We want to hear them again. There is a double test that any comedy number must go through to be successful: it must be novel enough to leave a lasting impression the first time, yet clever enough to reward us for listening more than once. These songs pass the test with flying colors.

For instance, take the real winner on Incredibad: “Punch You in the Jeans,” which is two and a half minutes of three guys mock-rapping about, you guessed it, punching people in the jeans. The lyrics are a mix of the numbingly childish and the genuinely witty: "I'll punch your jeans, I said it before, best believe this is not a metaphor," the chorus advises, and Samberg later snarls that he'll "beat your jeans so bad that they wish they were shorts." Even the music, a nod to real hip-hop beats on legit hip-hop tracks that borders on legit itself, contributes to the juxtaposition, which contributes to the overall comedy.

And while I'd love to divulge some more of this album's gems, I won't. It is the nature of comedy–and especially of this brand of comedy–that the first time is always the funniest. For that reason, I will leave the rest of the album for you to discover yourself.

So don’t listen to Incredibad if you’re expecting to become enlightened and discover the secret to world peace. But do listen to it if you’re looking for a good time.

The Verdict: Worth its salt.

-himlaec

Shows to find new music

2009-05-05T17:39:00.000-07:00

So these are some of the best places to find new music.

Chuck:

Premise:

A witty, action- comedy starring Zachary Levi as Chuck a sweet, awkward computer nerd working at the local Buy More with his childhood best friend Morgan (Joshua Gomez) and several other socially awkward misfits. Chuck lives with his sister Ellie (Sarah Lancaster)who spends a good deal of her time involving herself in aiding Chuck's declining social life and her fiance Devon or "Captain Awesome" (Ryan McPartlin). On the night of his birthday, Chuck receives an email from a college friend that contains a copy of all of the secrets of the CIA, called the intersect and is encoded into his brain. The CIA and NSA both send agents to retrieve the data, Casey, (Adam Baldwin) the staunch, angry, emotionally-distant, republican type (for lack of a better description) and Sarah (Yvonne Strahovaki) who is presented as much more compassionate but still is an extremely capable agent. Sarah and Chuck's roles are a reversal of typical action film gender roles; Sarah being the protector and Chuck being the brain or protected. Sarah and Casey are ordered by the CIA to protect Chuck from the Fulcrum (the bad guys) agents who will be after the intersect, or what has been imprinted in Chuck's brain.

The music:

This show knows it's music, ranging through every genre. Loud guitar and drum vengeance anthems for action sequences ("Bite Hard"- Franz Ferdinand), epic, sunshine-bright, songs that force your shoulders back and your chin up for victories ("Around The Bend"- The Asteroids Galaxy Tour), and creamy, heart-breaking, love ballads for the tender moments ("The Earth Has Lost it's Hold"- Calhoun). Although there are some misses ("Toxic" - Britney Spears) the soundtrack is a great place to find new music.

Some good songs from the show:

"Blood Bank"- Bon Iver

"Around the bend"- The Asteroids Galaxy Tour

"Signs"- Bloc Party

"God and Suicide"- Blitzen Trapper

"Buildings and Mountains"- The Republic Tigers

"Fake Empire"- The National

"Lake Michigan"- Rouge Wave

Don't You Evah" - Spoon

"See the World"- Gomez

"Foux Du Fafa"- Flight of The Conchords

"Wild Girl"- Matt Pond PA

"Looking at the Sun"- Gramercy Arms

"Shopping for Blood"- Franz Ferdinand

Theme song:

"Short Skirt/ Long Jacket"- Cake

Scrubs:

Premise:

A comedy-drama that follows the lives of 4 employees at Sacred Heart, a teaching hospital. The show is primarily seen through the eyes of J.D. (Zach Braff) a warm and effeminate attending physician. He works with his best friend, Dr. Christopher Turk (Donald Faison) or simply Turk and his wife Carla (Judy Reyes) and also, his close friend Elliot (Sarah Chalke). Each character struggles with their relationships and general troubles of life within the crazy schedule of hospital life, which is dispersed by slapstick humor in the daydreams of J.D. and the almost irritatingly constant optimism of J.D.'s voice over which links all the events of the show together.

Music:

Music has a large role in Scrubs, it acts as an emotional compass for the audience, allowing for a more intense experience and even the most emotionally turtled person to feel empathy for the characters. A wide variety of artists are played on the soundtrack and essential has something for most everyone (rap and country fans aside).

Some good songs from the show:

"Please Forgive me"- David Gray

"Good Time"- Leroy

"Dracula From Houston"- Butthole Surfers

"Camera One"- Josh Joplin

"Have It all" -Jeremy Kay

"Something's Always wrong"- Toad the Wet Sprocket

"Come Around"- Rhett Miler

"Bad Day"- R.E.M

"A Murder of One"- Counting Crows

"Winter"- Joshua Radin

"Lost Cause"- Beck

"Blue Eyes"- Cary Brothers

"Learn to Fly"- Foo Fighters

"Half"- G Tom Mac

"Sooner or Later"- Michael Tolcher

"Sideways"- Citizen Cope

"Alive with the Glory"- Say Anything

"The Man"- Pete Yorn

"Missed The Boat"- Modest Mouse

Theme song:

"Superman"- Lazlo Bane

House:

Do I even have to talk about the premise of the show? I absolutely love this show so much.

Premise:

House is a medical drama revolving around Dr. Gregory House (Hugh Laurie) a medical genius who leads a team of diagnosticians at Princeton-Plainsboro Teaching Hospital. House is most easily paralleled with Sherlock Holmes. Both were geniuses, musicians drug addicts and for the most part friendless. House suffered an infarction in his quadriceps muscle and now uses Vicodin to control the pain which is a large part of the show. But House with his cynical yet lovable personality manages to figure out a diagnosis every time regardless of whether the patient lives or dies.

Music:

There is a diverse musical background for House but thats all music is in this show, background. Although music plays a much smaller part in the show than in others the quality of the music is still fantastic.

Some good songs from the show:

"Happiness"- Grant Lee Buffalo

" It's Okay to Think About Ending"- Earlimart

"Beautiful"- Elvis Costello

"Delicate"- Damien Rice

"Crystalline Green"- Goldfrapp

"Desire"- Ryan Adams

"In the Waiting Line"- Zero 7

"Ain't No Reason"- Brett Dennen

"Into Dust"- Mazzy Star

"One Big Holiday"- My Morning Jacket

"Slide Away" - The Verve

"Passing Afternoon"- Iron and Wine

"I'm In Love With a Girl"- Big Star

"Lose You"- Pete Yorn

Theme song:

"Teardrop"- Massive Attack

Bones:

Premise:

This drama stars Emily Deschanel as doctor Temperance ("Bones") Brennan, a brilliant yet (as per stereotype) fairly socially handicapped forensic anthropologist who, with the help of her foil Agent Seeley Booth played by David Boreanaz, solve murders. Though the main characters have the almost conventional partnership where only opposites can be a brilliant team, the dark humor and unique visual effects separate this from Law and Order.

Music:

For the most part, Bones gives it's music over to the genre of a sort of techno-y alt. rock. Which feels very right with the concept of the show.

Some good songs from the show:

"Miles from Monterey" - West Indian Girl

"Precious"-Depeche Mode

"Ooh La La" -Goldfrapp

"Feel it Now"- Black Rebel Motorcycle Club

"Born"- Over the Rhine

"Cannonball"- Damien Rice

"Running Up the Hill"- Placebo

"A Light On a Hill"- Margot & the Nuclear So and So's

"Be Here Now"- Ray LaMontagne

theme song:

"Bones Theme song" -The Crystal Method

Veronica Mars:

Premise:

Simply, Veronica Mars is a mystery drama about a high school student named Veronica Mars (Kristen Bell) who goes to college while moonlighting as a private investigator.

Music:

The music is a jumble of lovable 90s-esque indie tunes and electrifying techno-y songs, all of which is impossible to not enjoy.

Some good songs form the show:

"Insincere Because I"- The Dandy Warhols

"Edge of the Ocean"- Ivy

"What are You Afraid of?"- West Indian Girl

"All that we Perceive"- Thievery Corporation

"The New Kid"- Old 97's

"Slow Hands"- Interpol

"Tulips"- Bloc Party

"Momentary Thing"- Something Happens

"Marc"- Louis XIV

"Long Time Coming"- Delays

"On Your Porch"- The Format

"Where Is my Mind?"- The Pixies

"Nth Degree"- Morningwood

"Oh My"- Mellowdrone

"Lost and Found"- Adrienne Peirce

"Hold on, Hold on"- Neko Case

"Right here, Right Now"- Fatboy Slim

"Rally"- Phoenix

"It Never Rains in Southern California"- Albert Hammond

Theme song:

"We Used to be Friends"- The Dandy Warhols

Buffy:

Yes, yes, I was a HUGE Buffy geek when I was younger. I was absolutely in love with the 90s, the music and Buffy, herself. Part of it was that she was a strong female in the media regardless of the fact that she is fictitious. Either way, music from this soundtrack fill my i-pod today, still.

Premise:

A supernatural action-comedy following Buffy Summers (Sarah Michelle Gellar) who is "The Slayer", a young woman who was chosen by fate to protect the world against the forces of darkness. Buffy struggles to maintain her life as a teenage girl while battling demons. Most of the early episodes are metaphors for real issues and have real life applications but as the series continued the value and humor was lost in the drama of the later episodes.

Music:

There is a mix of 90s indie, rock and pop which I have found to have had mixed results with many people. Over all this shows music is one of the major facets of my musical taste.

Some good songs from the show:

"Believe"- Sprung Monkey

"Strong"- Velvet Chain

"Pain"- Four Star Mary

"Never an Easy Way"- Morcheeba

"Blue Sun"- Darling Violetta

"Going to Hell"- The Brian Jonestown Massacre

"Fire Escape"- Fastball

"The Good Life"- Cracker

"Praise You"- Fatboy Slim

"Wild Horses"- The Sundays

"Bodyrock"- Moby

"Vivian"- Nerf Herder

"Ok Nightmare"- Caviar

"Tears Are In Your Eyes"- Yo La Tango

"Bohemian Like You"- The Dandy Warhols

"Play It by Ear"- Summercamp

"Even If"- Lift

"I Know"- Tresspassers William

"Out of this World"- Bush

"New Slang"- The Shins

Theme song:

"Buffy The Vampire Slayer Theme"- Nerf Herder

Skins:

Premise:

A British teen-drama following the lives of 10 (not to be redundant) British teens. Tony (Nicholas Hoult), his sister Effy (Kaya Scodelario), his girlfriend Michelle (April Pearson), his best friend Sid (Mike Bailey), and other friends, Cassie(Hannah Murray), Chris (Joe Dempsie), Anwar (Dev Patel (the guy from Slumdog Millionaire)), Jal (Larissa Wilson), Sketch (Aimee-Ffion Edwards) and Maxxie (Mitch Hewer). Each character has episodes devoted to their lives and points of view within the group of friends. The drama and parties just make you want to live one day the way these kids live their lives.

Music:

The music is a huge variety of alternative music that adds another dimension to the story and also is just really enjoyable to listen to I honestly can't think of a song off this soundtrack I don't like.

Some good songs from the show:

"Positive Tension"- Bloc Party

"No Pun Intended"- The Hives

"Limit to your love"- Feist

"You look Great When I'm Fucked up"- The Brian Jonestown Massacre

"Wild World"- Cat Stevens

"New York, I Love you, But you're Bringing me Down"- LCD Soundsystem

"Spread your Love"- Black Rebel Motorcycle Club

"Come Pick me up"- Ryan Adams

"Carrot Rope"- Pavement

"Keep the the Car Running"- Arcade Fire

"House on the Hill"- Beach House

"The Information"- Beck

"Shakin"- Dandy Warhols

"Nude"- Radiohead

"23"- Blonde Redhead

"Walcott"- Vampire Weekend

"I Feel You"- Depeche Mode

"K Rhythm Part 2"- Holy Fuck

Theme song:

"Skins Theme"- Fat Segal

-alene

Blade Runner (some thoughts)

2009-04-23T17:07:00.000-07:00

Blade Runner is such a beautiful and controversial film, and so much has been said about it, that I don't have too much left to say. However, since it serves as a model for sci-fi today, there is nothing lost in discussing it.

First, props to the amazing setting and cinematography. The film looks fresh even today (though perhaps that's the result of my watching the Director's Cut), as do the special effects and the creation of humanity's future dystopian society.

Rick Deckard (Harrison Ford) is a blade runner, or an assassin of highly advanced robots called replicants which only have four-year life spans and are illegal on earth. Though he is retired, when four of them come to earth--Zhora, Pris, Roy, and Leon--Deckard is reenlisted to find and "retire" them.

The dystopian world is portrayed beautifully, and the Voight-Kampff tests are especially creepy and effective in breaking down the walls between human and android--because that is the main question the film poses: what exactly does it mean to be human?

Rachel (Sean Young) is the ultimate example of the blurry definition of humanity. She appears and acts human, and it takes 100+ questions in the Voight-Kampff test for Deckard to determine that she is a replicant. There is even room for speculation about whether or not Deckard is a replicant. My one compaint regarding the Rachel-Rick relationship is that though I understand that Rachel didn't know how to express her love, I could have done without the psuedo-rape scene.

The film is rich in depth and complexity as the replicants struggle to sort out their feelings. They are torn between killing to stay alive and feeling sympathetic towards humans; they don't know how to love, and struggle to express it. They question what they are--human or machine--and this confusing transience causes them to lash out in violent and unpredictable ways.

I also appreciated the appropriate characterizations in such a dystopian society; many archetypes are flipped in their heads. Deckard, the hero, is an anti-hero; he's is billed as a hard-boiled cop, but most of the time he's just running for his life and has no clue what to do. Roy, such a great villain because of his creepy unpredictability and complex motivations, does an inexplicably good thing at the end of his life.

The largest problem with the film is the pacing. There are bursts of action followed by long stretches of noir film homage, shady alleys and Ford looking appropriately pensive doing "deep thinking"; after its release, this complaint proved to be the largest, so I don't want to hear adults talking about how "us kids now-a-days don't have no attention span."

Apparently in the original version there were much larger problems, such as voice-overs towards the end explicitly stating Deckard's feelings during the somber final scene, in an attempt to "simplify" and broaden the audience i.e. an Explanation Included For All Those Stupid Americans Because They Obviously Won't Get It, or rather a last-ditch attempt to make the film more popular. There is also a scene included of Rachel and Deckard cruising on a gorgeously sunny road, a sharp and inappropriate contrast to the truly dark end of the tale where Deckard's former blade-running mate, Gaff (who communicates primarily through origami) leaves a paper swan at Deckard's apartment, which can be interpreted two ways--he is letting Deckard flee with Rachel and turning a blind eye, or he is letting Deckard know that he will be following them.

There is so much ambiguity in the film, echoing the cold amorality of the world and of the protagonist, that it's a wonder anything was created that can be taken in so many ways; and therein lies the true beauty of Blade Runner.

-elln

Elln's Top Ten April '09

2009-04-14T17:47:00.000-07:00

There's a ton of fun stuff in the mix for April and probably a little bit of something for everyone. There's also a tie this month for best album cover. On one hand we've got the wonderfully trippy Peplab Drive cover, and on the other the fantastically sexual Louis XIV's The Best Little Secrets Are Kept (I could have posted the toned-down cover, which basically cuts off the lady's butt...but come on. We all have butts. It's not anything new.)

1. "Beautiful People"/Peplab- this song is purely addictive fun. It's electronic with some sunny guitars and a little latin flavor provided by shakers, not to mention a touch of acid. The refrain is simple and easy with thinly-veiled drug references; this is the perfect song for a day in the sun.

2. "The Way She Said"/Velour-This is pop music at its best. The words may not be amazing, but the rhymes flow so nicely that, well, whatever. The tight rhythms and pared-down melody are catchy-it's a laid-back tune perfect for a lazy day.

3. "Skinny Love"/Bon Iver-There's a special place in my heart for melancholy acoustic folk, but it's hard to reach. Bon Iver does it perfectly here, with sparse instrumentation and words that could be straight from a poem. The effect resonates powerfully.

4. "Staring at the Sun"/TV on the Radio-TVotR is one of the most diverse groups around, so it's hard to pin them as one thing or another. "Staring at the Sun" is a catchy little gem, with their typical howling lyrics, buzzing guitars, and minimalist snare.

5. "Maybe Tomorrow"/Stereophonics-I love Stereophonics to death, but apart from Kelly Jones' vocals nothing in this song is very grungy. Their usual raw power has been exchanged for a much smoother, laid-back, pop-rock sound, and I really dig it. The lyrics are simple but piercing, the way Oasis' lyrics usually are.

6. "Where Is My Mind?"/Pixies-The Pixies are hit-or-miss with me since I don't always enjoy Black Francis' screaming or off-kilter lyrics. But here the Pixies really sound like Radiohead; they open with an acoustic guitar and then add heavy, buzzing guitars. I like the lyrics, too, they're spacey; "Where Is My Mind" could be a modern indie rock song.

7. "When Did Your Heart Go Missing?"/Rooney-they've become very popular very fast, the reason being that Rooney produces addictive throw-back rock. When I first heard this song, I thought it was from the 80's. Anyway, Robert Schwartzman's (he's the guy from The Princess Diaries) LA roots come through very clearly in a song that's less about (shallow) heartbreak and more about an uber-catchy rhythm.

8. "Superstylin'"/Groove Armada- Reggae meets dance-floor electronica in this infectious mix by the masters of such style. Groove Aramada has been around forever, and has been experimenting forever, and they hit the mark more often than not.

9. "Streetlights"/Bloomsday Rising-They'll never be great unless they mature or do something a little more creative, but "Streetlights" is a catchy enough and nice enough rock effort to be worth mentioning (since most mainstream rock sucks now-a-days). I personally think they're too melancholy and should write more upbeat stuff, but the balance of heavy power-chords and Phil Lang's rich vocals which walk the fine line of grating but manage to eke out on the side of pleasant come together nicely.

10. "Paper Doll"/Louis XIV-If you can abide very, very dirty and explicit lyrics (dirtier, in some ways, than rap, which at least gives us the courtesy of euphemisms) then you're in for a real treat. Louis XIV creates absolutely addictive glam rock; they're even one of David Bowie's favorite modern bands.

-elln

The Kings of Leon's ONLY BY THE NIGHT

2009-04-12T17:41:00.000-07:00

It’s true the Kings of Leon have come a long way since the deep Southern rock of debut album Youth and Young Manhood in 2003, and fourth album Only by the Night, released September 2008, showcases all of those changes. The three Followill brothers and their cousin grew up musically sheltered, and have only recently discovered post-punk, arena rock, and alternative rock. These influences live and breathe in Only by the Night.
Opening “Closer” sports an electronic synthesizer reminiscent of psychedelic rock and dream pop, weaving in and out of post-punk inspired guitars. Caleb’s wounded vocals and aimless, melancholy tone come straight from indie rock. It’s also clear that Caleb’s lyricism has become more sophisticated and moved away from Youth and Young Manhood’s raw sexuality and focus on—in a word—women.
“Crawl” comes from the school of British grunge such as Oasis and Blur, with the buzzing guitars of alternative garage rock and an equally swaggering bass line. “Sex on Fire” is pure, polished rock, and the album’s most successful single. “Use Somebody” is possibly the best song on the album, and Caleb’s layered, echoing voice is taken straight from Bono and the arena rockers. “Manhattan” is laid back rock, with a particularly sunny, stirring bass line.
“Revelry” is a true return to Southern rock roots and country, and certainly an album highlight. “17” and “Notion” are continuations of this trend, though less country and more rock with some nice bells added at the opening. “I Want You” returns to alternative sound, placing much less emphasis on guitars and relying much more heavily on drums and bass. “Be Somebody” is a strange little experimental creature, and we finish off with the almost-indie ballad “Cold Desert,” a lyrical masterpiece whose words read like poetry.
One can easily identify the Kings’ influences, but it’s tough to label them like anyone else. They create a masterful blend of rock taken to new places in an era when no one thought it possible.
If rock is going in any direction, this is it.

-elln

ADVENTURELAND

2009-04-11T08:26:00.000-07:00

Imagine Nick & Norah's Infinite Playlist ten times better, and then cross it with American Graffitti and you get Adventureland.

It's the '80's, and James Brennan (Jesse Eisenberg) is off to Columbia grad school in the fall. He's due for a tour of Europe this summer with his yuppie-nerd future roommate when James' father loses his job and James is forced to take a job at the local amusement park in Pittsburgh, Adventureland. His employers are the delightfully bossy and ever-pragmatic Bobby (Bill Hader) and his wife Paulette (Kristen Wiig). James quickly falls in with the cynical Joel (Martin Starr), a Russian literature major, and reluctantly reunites with childhood livewire friend Frigo (Matt Bush). Then fellow employee Em (Kristen Stewart) saves James from a knifing by an angry park-goer, and James' summer takes off as he enter a world of drinking, smoking, and finding true love. But as James is falling for Em, he has no idea that she's sleeping with married maintenance guy Connell (Ryan Reynolds), and notorious flirt Lisa P (Margarita Levieva) may be after James' heart as well.

This movie is so far above and beyond the average romantic comedy that it's hard to describe everything it does right. I'll start with the humor. It's not over-the-top like Superbad, it doesn't try to hammer you over the head, and yet I was laughing out loud more than once. It takes all the typical amusement park tripe (kids throwing up, food being inedible, a running "giant-ass Panda" gag) and breathes life and

every day humor into them. Then there's snarky deadpan comic timing from Joel, as well as the absolutely insane Frigo's physical comedy antics (like ruining a moment between James and Em by peeing on Em's window from outside). Even the camera angles and composition play to the humor, such as showing Joel's little brother mowing the lawn and then panning to reveal why the mowing is such a problem-it's because Joel and James are trying to have a serious conversation and the lawn is literally 2x2 feet.

Then there's the awesome, awesome soundtrack, featuring songs by Lou Reed/The Velvet Underground, David Bowie, The Cure, The New York Dolls, and original music from alt rockers Yo La Tengo.

What really makes this coming-of-age story shine is how real it is, and the depth of the characters. Em and James aren't the only characters given development. When Joel has his heart broken, we realize that he's not there just to be the dark, gloomy, doomed-to-a-hell-that-is-Pittsburgh comic relief-he's real, and his life sucks. Connell is a Lothario-like musician who "once played with Lou Reed" (though it's hinted at multiple times in the movie that this is a lie) whose mystique and enigma are gradually peeled away to reveal not an advice-doling older brother figure to James, but a shallow womanizer who could care less about the people he sleeps with.
Em is dealing with the tragedy of having lost her mother two years ago, and now putting up with her horrible stepmother and less-than-proactive father. While I'm generally not a fan of Kristen Stewart, I will admit that she played a great Emotional Wreck here (though it'd be great if she could stop pulling her hair out all the time). Em came off as greatly unstable and insecure, but also as a beautiful, kind, and intelligent soul.

Jesse Eisenberg played one of the most adorable male leads I've ever seen. I've never understood why people like Michael Ceras so much because his characters are often incredibly flat or spineless-this is not the case with Eisenberg. He's endearing and charming and brave and sweet and funny. Win win win!

Anyway, you've got to hand it to a movie that portrays real life, true day-to-day antics, this well and with this much humor, heart, and sympathy.

Masterpiece.

-elln

Hamlet 2

2009-03-23T10:41:00.000-07:00

There's nothing out there at this moment that parallels the absolute ridiculousness of Hamlet 2 (except maybe Animal House, a landmark work of comedic genius). It's so over-the-top in such an understated way that many of the giggles come from being discomfited and stunned by the outrageously embarrassing, ludicrous, hammy, and offensive behavior of the main character, Dana Marschz, played by Steve Coogan.

Dana is a failed TV-commercial-actor-turned-drama-teacher in the city "where dreams go to die" of Tucson, Arizona. He only stages play adaptations of popular Hollywood movies, however, and he only has two students, the overtly gay Rand (Skylar Astin) who is in denial abous his sexuality, and the bright and bubbly Epiphany (Phoebe Strole) who "gets nervous around ethnics." When the school district cuts all electives but drama, all the "ethnics" Epiphany is so nervous about come to drama, and the movie goes in the typical direction of a teacher having to show love and compassion to "ghetto" kids to get them away from drugs/crime/pregnancy/etc.

And yet the movie itself is poking fun at movies like Freedom Writers and less esteemed movies of its ilk. Dana proves to be the worst teacher ever, cursing like a sailor at his class to make them listen to him and then demonstrating his blood-curdlingly awful acting skills. Epiphany's "understanding" of her "ethnic" classmates is so overdone that she begins to act like a poverty-ridden ghetto teenager, sprinkling words like "homie" and "vato" throughout her vocabulary in a hammed-up attempt at a Mexican accent, though she is clearly from a white upper-middle class family. In fact, many of the Mexican-American kids are not poor; when the star of the show Octavio declares that his parents have objections to the show, Dana marches off to have a poignant heart-to-heart with Octavio's (Joseph Julian Soria) ignorant, poor Mexican parents.

In an especially brilliant scene, Dana begins the conversation with, "You can't let your ethnic narrow-mindedness stop your son from thriving in our culture." Once you get over the shock and horror of this line, you can begin to appreciate what happens next.
Octavio's father then goes on to say in impeccable English that he has published nine novels and has a PhD in literature; Octavio's mother is a painter with an exhibit at the Guggenheim. Octavio has a 3.9 GPA and is going to Brown.
Dana then begs for help for his own work, especially the original play he has written and his drama class performing.

Oh, wait, did I not get to the play yet? It's a sequel to Hamlet, except it's really just Hamlet rewritten with a time machine so that Hamlet can go back in time to save Gertrude and Ophelia (with the help of, who else?, Jesus).

In fact, Dana's wife Brie (Catherine Keener) reads the opening lines for us in the first draft of his original work:
"'The time machine door opens revealing Hamlet, Gertrude, Palonius, and Hilary Clinton having what appears to be group sex,'" to which Dana responds,"That's about my troubled relationship with my father."

Trouble ensues, however, when the principal of the school reads the play and deems it too pornographic and offensive to perform. But luck is on Dana's side! Though his wife is leaving him for their pathologically boring (but fertile-which Dana is not) boarder, Gary (David Arquette), one of Dana's junkie students has a friend whose meth lab just burned down, and it turns out it's the perfect place to host the show.

Wirework is provided by a backyard start-up business, two guys who have no idea what they're doing and smash mute student Yolanda into a wall during the first trial. But by the time of the show, the wirework is good enough for Laertes and Hamlet's mid-air light saber battle to be a hit.

Meanwhile, Dana is becoming a local celebrity, and when people try to censor his work Ultimate Bitch-Lawyer Cricket Feldstein (Amy Poehler) comes to the rescue to take this civil liberties case to the national level.

The play starts with an introspective musical number, complete with blue lighting and pensive acting, entitled, "Raped in the Face." Laertes is featured in a number of scenes looking decidedly gay, first in a cowboy outfit and then as a 50's greaser during the "Rock Me Sexy Jesus" number.

If you're going to watch for anything, at least watch for the "Rock Me Sexy Jesus" musical highlight.

Meanwhile, there's rioting outside, and when Octavio points out that it's intermission, Dana replies, "We can't have intermission now, the Fire Department's trying to evacuate the building."

Eventually, Dana ends up a world-renowned director and his play goes on broadway with the original cast.

It's a delightfully horrifying film for all the right reasons-it appears to take itself seriously and the situations are presented so pragmatically by Dana that it takes you a moment to stop and think about the layers of satire and not-very-plausible things going on; and when you finally do realize the utter ridiculousness of it all, your mouth will be hanging in delicious shock all the way to the floor.

-elln

Nicole Galland's THE FOOL'S TALE

2009-03-17T11:55:00.000-07:00

Apparently Nicole Galland is "an award-winning screenwriter" so I'm assuming she writes her screenplays under a pseudonym because I've looked for her everywhere.

Anyway, The Fool's Tale is her first novel; I picked it up on Martha's Vineyard, where she's a native, a couple years ago when I was feeling bored. I didn't expect to be impressed with it.

...and then I stayed up until three in the morning to finish the damn thing. It's a hefty size, too, an intimidating 500+ page book with small font. The writing manages to be descriptive and a bit lengthy, but still exciting. Galland stresses in an afterward that while some characters and events are based in history, she has taken many liberties with people and places and that this is not a historically accurate novel.

The story revolves around a small Welsh kingdom in the 1100's and the deadly politics involved in keeping it afloat. Maelgwyn ap Cadwallon, nicknamed Noble, is the king of the small but relatively secure Maelienydd. His best friend is an orphan named Gwirion, who was raised beside him and has a quick wit and endless nose for trouble. Gwirion is the court's fool and harpist, and gets away with murder because the king will never punish him; Gwirion's pranks and tomfoolery make him the court's darling, and the king confides his darkest secrets in Gwirion, who saved the king's life when they were children.

Then, in an attempt to secure one of his borders, Noble marries Isabel Mortimer. Isabel proves to be intelligent, cold, and uninterested in a Welsh lifestyle, a lifestyle she considers to be distatseful and primitive. Thus ensues the tortorous relationship Isabel shares with her new husband; sometimes they are able to get along, and she enjoys his sexual attentions; however he does not love her, she does not love him, and they often argue about her status or his various affairs. Isabel and Gwirion also abhor each other, and compete for the king's attention. Isabel doesn't feel any more at home after the king makes it quite clear that Isabel will never be as important as Gwirion, the fool, is.

Slowly, a change comes about as Isabel and Gwirion make a truce after months of discord. Isabel begins to embrace the Welsh lifestyle, and grudgingly earns the admiration and love of her people. However, she is unable to produce a child, and after a poisoning causes her to miscarry her first child, she is afraid she is barren. As her uncle continually betrays Noble, Noble begins to find that his marriage to Isabel was useless. As Isabel is becoming accustomed to her life as Queen, Noble faces increasing problems with his kingdom; the English on one border continually pose a threat, and another Welsh lord by the name of Llewelyn is a rising star in Wales. We are treated to some devious political thinking and machinations. While Isabel is coming out of her shell, Noble is sinking deeper and deeper into a twisted immorality which he justifies with his charge of preservation of his kingdom.

Thus it is that, when Noble is away fighting a war, Llewelyn's men come to claim the castle, and Gwirion and Isabel are locked up together. They realize that after months of fighting, they are no longer enemies--they have a deep bond in that both are dependent on the king's whim, and are utterly powerless. For Isabel, the law and society bind her to Noble; Gwirion knows that if he tried to leave Noble, he would be hunted to the ends of the earth. When Gwirion finally sees Isabel without her wimple, or head covering, he's shocked at how beautiful she is. Their illicit affair, one of not just lust but of true intimacy, something neither has known, begins.

Galland weaves these three characters so tightly together, and creates the most awkward and horrifying experiences and close calls for two lovers trying to hide their affair, that the circumstances are literally squirm-worthy. Despite the dense text, each page is suspense-ridden as we race towards an unknown conclusion. The affair itself comes with a wealth of complications; while Gwirion and Isabel love each other truly and deeply, their obligations to Noble, who is sinking further and further into depression as he watches his kingdom fall, leave them guilt-ridden. Gwirion being loved for himself, truly himself, brings about his maturation as he gropes for the one thing Noble's never given him- dignity. Noble has never allowed Gwirion to fall in love, because Noble will not allow a woman to come between them. Noble himself is half-insane by the end of the novel, revealing that he only allowed the affair to continue because he wanted to observe two of the most honest people he knows trying to be dishonest.

The ending of the novel is shocking, but I won't reveal more than that. Noble is truly a beastly creation, yet he deserves some sympathy for his inability to love romantically, and for his ability to love his one true friend only in a demented way. No one is blameless at the novel's close, and yet each character is profoundly understandable, sympathetic, and full of surprises. That is the true triumph of Galland's novel; how intewoven the fates' of these three fully-fleshed characters are, and the powerful things she chooses to do with them.

-elln

Elln's Top Ten Songs for March '09

2009-03-16T20:21:00.000-07:00

So since I buy music like an addict, I decided to do my top ten of every month, which will probably be an eclectic compilation of everything indie, alternative, electronic, etc. The picture I choose will be of my favorite cover of all the selections.

1. "How Soon Is Now?"/The Smiths: whoa, poetry much? I can understand now why they were so revolutionary. The Smiths took melancholic, poetic, and deep and meaningful lyrics and made them accessible and (marginally) commercial and oddly satisfying. Honestly, they're so famous I feel stupid saying anything else.

2. "Float On"/Modest Mouse: Interestingly, guitarist Marr of the Smiths guested We Were Dead Before the Ship Even Sank, which probably explains the best part of the song: the freakin' guitar. Just listen to that thing, it's so addictive and laid-back yet amazing at the same time. Coupled with the lyrics and unmistakable vocals by Isaac Brock, it's one of the catchiest things I've heard all year. Seriously, I don't know why I was so resistant to Modest Mouse for so long.

3. "We Can No Longer Cheat You"/The Cribs: Wait, Johnny Marr's in The Cribs, too? He's everywhere, he's like God, I swear I didn't know Marr was clairvoyant and all-powerful until I started this review.

Okay, it's now time to acknowledge Johnny Marr's Omnipotence.

Obviously my personal preference becomes obvious when I pick three random bands and they all have a guitarist in common. Anyway, onto the song.

50% of the time, The Cribs sound like Franz Ferdinand-wannabes, and the other 50% they strike it rich with a nice sound that lands between lush and tight garage rock. They have respectable, catchy tunes without being meaningless (Franz) or deep and pretentiously apathetic (The Strokes). I particularly enjoy the tight harmonies of the chorus, and the often-trod but still compelling subject matter. Really, just a good solid melody.

4. "Do the Right Thing"/The Dudes: What a heart-felt little gem; I must say I hadn't heard of the The Dudes before now so I don't have a wide frame of reference, but this is a smart piece of indie rock infused with pop sensibility. It really shines on the production end, and the lyrics are endearing and smart. Also gotta hand it to Dan Vacon for having a truly wonderful voice; you can hear him pushing himself, especially on the chorus, and yet there's no breaking and it sounds smooth as honey.

And how can you not love these purely slam opening lines?

my bedroom's worse than the Catholic Church, I let anyone in
and now my carnal sins have gotten to be so boring.
my heart's wide open, I sure was hoping you could close it down,
now it seems I'm finding out that loving you girl can be so frightening,
you strike me, like gas and lightning, love me, don't just spend the night,
you can count on me to do the right thing
You steal my nerve and you strike me
Love like lightning

5. "Northwestern Girls"/Say Hi: Well, after a disappointing name change, Say Hi to Your Mom has matured significantly since I listened to '06's Impeccable Blahs. That EP suffered from lyrical content (it was basically all very creepy songs about vampires), and I'm glad to say that if, at least not terribly sophisticated, "Northern Girls" is at least about a neutral and tolerable subject (that is, the female gender in reference to geographic positions, ala Beach Boys). It's catchy, low-key indie with appropriately wounded lyrics and a pounding drum and bassline; they're busy finding their sound, and making good progress along the way (I haven't had a chance to listen to Oohs & Ahhs yet). One thing they do need to learn is how to let the guitar rip; the last thirty seconds of the song have had such a buildup, and then they rely on percussion and bass and it doesn't do their vision justice, I can tell. I'm looking forward to how Say Hi (LAME name change) is going to mature.

6. "About to Walk"/Throw Me the Statue-Throw Me the Statue has certainly grabbed attention with Moonbeams; they're mainly impressive because of such a wide range of instruments and experimental sounds, put together into melodies that are both aesthetically pleasing and catchy. It's no wonder, then that they've opened for Cake, a band both plagued and renowned for a funkiness that never seems to evolve at all. Throw Me the Statue has already proved their worth beyond a band like Cake by demonstrating a creative versatility, poetic lyracism, and talent for mixed melodies.

Oh yeah, the song? I enjoy the ukulele-like sound that plays. I said everything else up ^ there

7. "No You Girls"/Franz Ferdinand: Yay, another solid effort from my favorite party-boy bisexual junkies! Franz Ferdinand just knows how to rock them melodies; if I ever hear any type of serious effort from them on the part of lyrics, I'll fall over in surprise, and I probably won't be impressed. The whole point of Franz is utter cockiness combined with a tinge of insecurity- and of course where would they be without their incessant party-worshipping?. It's the same buzzy guitars, the late nights where you forget yourself and then wake up and feel your youth sapping away and then go out to party again to forget that fact, and jarring and clever tempo-changes we've come to know and love. "No You Girls" is a seriously catchy effort from their newest album.

8. "Elevation"/Television: More early punk movement, except listening to this song is like listening to a more sophisticated, decommercialized version of the Eagles. Reminsicent of Echo & the Bunnymen, "Elevation" is a haunting effort in guitar line melody changes, and for the better. For all that the song seems to lack a pattern, it's less punk more rock as the guitars are skillfully layered on, and it's captivating. There's no shiny, spiffy production- this sound is raw and satisfying.

9. "Summer Romance"/The Redwalls: Guilty pleasure of the month, this song's simplicity reeled me in. I'm a sucker for well-done romantic confessions, and that's exactly what cutie-pie Logan Baren does as he yells out, "Darling, please don't let me say goodbye!"

Yes, they're shameless whores for '60's and '70's rock, but hey they started as a cover band of that exact time period (as British invasion specialists). Just because they're recycled material doesn't mean they're not good. I like recycling if it's done with some talent. Besides, I have a feeling that they're branching out slowly, slowly into their own territory.

10. "Confines of Gravity"/PlayRadioPlay!: Yup, another semi-guilty pleasure. But it's been a while since I've heard such a good drug song (and such an obvious one-jeez, it practically hammers you over the head), and in this case the analogy actually works and turns out to be sufficiently disorienting and powerful at the same time.

I wanna be an astronaut and get high
break the barriers of sound into the sky
Just wanna be free
from the confines of gravity

Daniel Hunter's voice walks the fine line between soothing and grating, but I think it comes out for the better, especially layered over his synth/electronic beats that are both inviting and clever. There's talent in this simplicity, and the basic message comes through unhindered and with clarity.

Well, that's it. Have a good month. And remember:

JOHNNY MARR IS WATCHING YOU

-elln

The Tale of Vampire Town: A Recap from a Traumatized '90's Child

2009-03-14T13:43:00.000-07:00

As a child I had a fairly regimented routine. I would go to school and then come home to watch whatever was on Nickelodeon until I had to start homework. Sometimes Hey! Arnold or maybe Rugrats (before the tragic mindfuckery that was All Grown Up! started, mind you) would be on.

But sometimes I wasn't so lucky. No, sometimes Are You Afraid of the Dark? would come on. I could not imagine why anyone would find this terrifying show about things that went bump in the night entertaining. But just because the show scared the bejesus out of me did not deter me from my couch potato tendencies. So what if I was be scared, I wasn't about to start my homework at 4:30.

This weekend I found this very series that plagued me during my younger and more vulnerable years. I posted a link to this review's subject to my Facebook wall, and ELLN was so kind as to share in our former terror. She reviewed the episode that had particularly scared her and I will now follow suit, except that this one scares me for very different reasons.

So without further ado, submitted for the approval of apolloxdaphne and its followers, I call this review "The Tale of the Vampire Town: A Recap from a Traumatized '90's Child."

The infamous opening credits are, arguably, the scariest aspect of the show. Cast in midnight blue the viewer gets such visual scares as a boat rocking all by itself on a lonely lake, a swing swinging with no one on it, the proverbial evil clown doll, and, finally, a hand lights a match to reveal the title of the show: Are You Afraid of the Dark? Music that you would most likely hear on a Halloween CD whilst trick-or-treating with friends plays in the background.

There is an establishing shot of a campfire and we once again are with the Midnight Society.

There is some clunky exposition about some kid in the Society who may not be able to tell the story of the night because he was in a fight at school. But, alas, the delinquent shows up. He is of African American descent and he expresses his disdain for the fact that whatever happens, he is the one who gets some trouble. I am not going to join the YouTube commentators about the racial subtext surrounding this introduction.

The story teller introduces the story by talking about people not liking things that are not normal. He calls the story: The Tale of Vampire Town. Creepy music plays as the Midnight Society fades out.

Thunder, lightening, and wind, oh my! We get a dark and stormy night with a fat man entering a dark and foreboding building. In AYAOTD world this means he's a goner. A phone is ringing and he answers, "Wisteria Funeral Home..." Oh, a funeral home. So far so good. He tells the caller that he was just going out to get the milk.

Instead of going to a nice crowded grocery store, though, he goes into the scary morgue. He opens a coffin to see that it once held someone in it, but zoinks, they're gone. He takes a nice survey of the morgue. A couple of bodies under sheets, nothing special there.

A flash of lightening and finally something terrifying happens. A body that was in the background rises up from its little corner and starts to walk over.

This guy is about to find out that there are worse things than being over fifty and acting in Are You Afraid of the Dark? He's too busy looking for his common sense on the floor to notice a vampire walking toward him.

The vampire's hand gives him what looks to be the Vulcan Nerve Pinch and that puts him out of commission.

Then the vamp sees the cross staring up at him. The vampire screams and runs away, cape flowing in the breeze.

Trippy transition music plays and a voice that you hear in every horror movie tells us that he is arriving in Wisteria, the fabled vampire town. Gothic ye olde handwriting reflects the narration. The voice, clearly that of a deranged vampire hunter from Transylvania, tells us that he is hunting for the vampire known as Dreyfus. Apparently Dracula ain't got nothin' on Dreyfus, because Dreyfus is THE SCARIEST MOST EVIL VAMPIRE EVA!!!! and could kick Dracula's pale scrawny ass in two seconds. The voice vows to meet this vampire, face to face.

The camera pans and we see a boy, who could be the long lost third Corey, clad all in black with dark sunglasses and a ruby broach. "Dad, take it easy," he says in a petulant pubescent voice.

Dreyfus, wherever he is, has got to be shaking in his cape. Corey then amends his common voice by affecting a melodramatic tone with a, "Father, please take care."

His parents, who are actually somewhat tolerable, make fun of their son's obvious hard-on for vampires.

"You know that I only eat red meat," Corey the Vampire Slayer simpers.

His dad further makes fun of him talking about how peanut butter must stick to the fangs.

"If I am going to hunt vampires then I have to think like a vampire and I don't think they eat peanut butter." This kid officially makes it on my list of Kid Characters On TV I Would Like to Murder; he's buried somewhere between Dora the Explorer and Sheen Estavez (of Jimmy Neutron fame). The kid then picks up a magazine with a picture of prevamped Dreyfus on the cover. And you thought I was kidding about the hard-on?

They reach Wisteria, much to the glee of the wee little slayer. His dad is not so thrilled. He has field seats to a sporting event.

His mother sticks up for the little twat, whose name is apparently Adder. Adder? The kid is named after a reptile? At least it drips with wannabe slayer, even if his parents appear to have been suffering a mild case of Downs Syndrome whilst naming their child.

The parents go in the inn and the dad makes a comment about the fact that it is dark. Out of nowhere the innkeeper tells him that sunlight damages antiques. Also sunlight has also been known to damage VAMPIRES.

The innkeeper shows them to their room, and then walks down the stairs and is caught by surprise. Adder is sitting by the stairs with an eager expression. Adder says that he wants to see the catacombs. Key up the Symphony of Trepidation as the innkeeper tries to tell him that they have been closed for years.

Adder has a hissy fit and then says to the innkeeper that he knows that there is an entrance of the catacombs to the basement. He says it like he is blackmailing the innkeeper, but obviously this isn't a big secret if Adder knows about it.

Then Adder notices a door in the background and asks if that is the entryway to the closed catacombs. I wonder if the "No Entry" sign to a level below ground helped him figure it out. The innkeeper asks why Adder is so interested and Adder says, "Let's just say that I have an appointment with destiny."

Adder, meanwhile, plans to find Dreyfus tonight, if He exists.

We cut to a full moon, though I'm pretty sure that's WEREWOLF lore. Adder is downstairs equipped with a flashlight and is making his way to the catacombs. He opens the UNLOCKED door to the catacombs. Yep, this inn doesn't even lock the doors to scary catacombs that house vampires. Stanley and Carl peek out from behind a curtain.

Adder gets down to the catacombs. And blah, blah, blah, corpses and coffins. Scary Latin/Gregorian Chant church music playing. But Stanley and Carl are hot in pursuit, brandishing stakes.

Adder finally comes upon Dreyfus' coffin. He starts taking pictures and giddily explains about how he is going to be famous. Stanley and Carl ambush him. Adder tries to explain that he isn't a vampire.

Then Adder makes the stupidest move in wannabe demon chasing history. HE PULLS DREYFUS'S WOODEN STAKE FROM OUT OF THE COFFIN. For someone who reads about slaying and hunting, he broke rule numero uno, which is DON'T WAKE THE SLEEPING VAMPIRES. Soon we see Dreyfus' coffin show some signs of life.

With Dreyfus awake, Adder realizes that Vampire Hunting is not all that it is cracked up to be, and takes flight.

SUDDENLY, Dreyfus materializes out of nowhere. Did Stephenie Meyer write this episode? Because a whole lot of vampire lore is being violated here.

Dreyfus is about to eat Carl, when Adder's weirdness and "dedication" finally come in handy. He uses some raven's blood to lure Dreyfus away, and then then opens the shades to reveal a very bright sun, which has magically appeared since it was pitch black when Adder left for the catacombs, which in episode time was probably like a half hour for them.

But then we get treated to some horrendous '90's special effects of a computer-generated Dreyfus getting disintegrated by the sun into a pile of ash.

Carl is super grateful to Adder. They have a nice little vindication where Carl warns him that vampires are no joke. Except when they die like that, that was pretty hilarious. Youtube it. (It's really only rivaled by this in my mind)

Adder's parents are, understandably, surprised to see a nice and normal Adder. Gone are the eyeliner and ruby earring. Adder suggests going to the Jets game. His parents are happy.

But Stanley is not so happy. Adder gives him some blood for protection against vampires, and...most people know what's coming, even if you are blind and deaf I still maintain your guessing odds are pretty good. Yep, Stanley is a vampire.

He bites Adder and that's it. Fade to the unimportant Midnight Society as they talk about how "good" the story is. I would protest, but my keyboard has been abused enough already.

I declare this recap closed.

-acerbec

Kenneth Oppel's STARCLIMBER

2009-03-08T14:38:00.000-07:00

You have a guilty pleasure. Admit it. Maybe you take an hour out of each week to curl up and watch Dancing with the Stars, with only your bowl of popcorn as a witness. Maybe, hidden in the depths of your iPod full of Cannibal Corpse and Killswitch Engage, you have the complete discography of Britney Spears. Or maybe you love Twilight.

Personally, I die a little bit inside every time someone professes their undying love for Edward Cullen. But I will admit to understanding the fangirl mentality. Because I walked into the bookstore the other day and almost started crying. There, on a shelf in the back of the store, was a book that I didn't even know existed. There was only one copy, and, as it turns out, the book actually came out last fall. It was a novel by Kenneth Oppel called Starclimber, and was the sequel (well, second sequel) to a book I'd first read five years ago- Airborn. Airborn is, I suppose, my Twilight.

The books- Airborn, Skybreaker, Starclimber- are Steampunk-style novels set in an Edwardian alternate history where airships rule the skies and fantastic scientific discoveries await those with a sense of adventure and a little luck. They follow airship cabin boy Matt Cruse through a series of fantastic high-altitude adventures. It's swashbuckling romance in the style of Treasure Island. And yes, it's probably considered a children's book... but it's a well written one- something I can't say of Stephanie Meyer's novels- and between heavier novels, it's sometimes nice to read something fun and exciting. The characters are convincing and easy to relate to, and the dialogue is witty, in sharp contrast to the tepid and inane drivel that passes for conversation in other novels I've read recently.

These books are an appealing mix of the intrepid spirit of exploration and the effervescence of clinking champagne glasses, with just enough commentary on social classes and gender discrimination not to be obnoxious and just enough romance to not be sentimental. Personally, as somewhat of a fine literature snob, I found Airborn and its sequels to be thoroughly enjoyable reads.

AYAOTD:The Tale of the Dollmaker

2009-03-08T12:59:00.000-07:00

Okay, only in Canada would anyone ever think to make a show that would legitimately scare kids' pants off. Are You Afraid of the Dark? ran in the 90's and continued into 2000, on Nickelodeon who co-produced it. It's a horror/fantasy show for kids. Who came up with that brilliant idea?

I must have been seven or eight when I first saw this episode, and it scarred me for life. I had dreams about being trapped in a dollhouse for years. Apparently I'm not alone, since it was a fascinating episode for others as well. So now I'm going to review "The Tale of the Dollmaker."

The episode begins with the The Midnight Society's weekly meeting, where a group of "teenagers" (they look more like 10-year-olds to me) meet to tell scary stories. One of the group members has a reputation for creepy stories, and having her doll with her, she begins one. We are then shown the story.

Melissa goes to visit her aunt and uncle, Peter and Sally, every summer because she's made friends with the girl next door Susan. Unfortunately, this past winter, Susan disappeared and her parents moved out of the house. When Melissa sneaks next door because she thinks she sees someone at the window, her aunt finds her in the attic and cautions her against returning to the house. That night, Melissa hears her aunt and uncle arguing about how much her aunt should tell Melissa, and Melissa overhears what Susan's mother told aunt Sally about Susan's disappearance- "it was the house that got her!"

Melissa, unperturbed, makes a second visit to the attic, where she finds a secret door and sees a strange-looking Susan wandering aimlessly; just as Melissa is about to step into Susan's world, however, her uncle grabs her and reveals to her that, had she set foot through the door, she would have actually fallen out of the attic window and to her death.

Melissa makes a third trip, tying a ball of twine to the door so that as she wanders the house, she won't get lost. She realizes that she is now in the dollhouse, and the door disappears and she is trapped. Susan can't do squat since her body is falling apart:

Eventually, with the help of Susan's cryptic hints, Melissa figures out an ingenuous way for them to safely escape the attic's clutches and return to the real world. Peter burns the dollhouse, and everyone is happy. We are left with the Midnight Society packing up like good little children to go home for bed, with lingering doubts as to what the attic's door leads to now that the dollhouse is gone.

I'm not going to bother naming the actors since the acting is campy at best-Melissa is particularly grating, and is immediately portrayed as a spoiled brat in an attempt at humor; she makes rude, snarky comments to her loving aunt and uncle right off the bat because everyone thinks super-snotty kids are hilarious right? FAIL.

Watching it now, it's obviously not that scary-but for little kids? Taking the idea of something familiar and fun, like a dollhouse, and turning it into a trap and a hellhole where your best friend's body is falling apart and you have a near-death/suicidal experience where a haunted house tries to lead you to jumping out a window-

...

You can watch the episode on youtube; it's all campy fun now, but perhaps for nostalgia's sake you'd enjoy it.

Also watch for the five-million shots of swings, ranging from tire swings to white swings to swing-like loveseats. Hitchcock anyone?

Mwahahaha have a wonderfully creepy day.

-elln

Chris Bohjalian's SKELETONS AT THE FEAST

2009-03-07T15:36:00.000-08:00

I was drawn to the book by its striking cover, the fuzzy photograph of a woman in a '40's dress standing in a nostalgia-ridden corn or wheat field-the blurriness makes it hard to tell which. Her scarf is blowing in the wind, and she runs a hand through her hair in a carefree gesture. She is the personification of a fondly remembered youth, and this romanticism is a departure from the normally stark Bohjalian.

The style of the book is where Bohjalian's stark writing comes into play; it's Hemingway-esque in its simplicity. This directness masks a deeper psychological profundity as the characters in Skeletons wrestle with all kinds of moral ambiguity as they cross the country in a desperate attempt at survival.

The novel is based on a real war-time diary. The setting is 1945, and it is clear that the Germans are losing WWII. The aristocratic Emmerich family, torn in their loyalties, will now make a dash for Allied lines. There is Rolf, who has only ever half-supported Hitler, and his wife, known affectionately as Mutti, who has worshipped Hitler since his election without his atrocities during the war having been made public. Anna, one of the story's main protagonists, is a conflicted and intelligent young woman torn between pride in her country and a growing horror at what is slowly coming to light about her country's actions in the war-especially toward Jews. Her twin brother, Helmut, is taken along with her father into the depleting Nazi ranks, where her elder brother Werner is already fighting, close to the beginning of the story. The other characters in their travelling band include Anna's younger brother Theo, and her lover Scottish POW Callum. Soon Nazi officer Manfred joins their party, but his real name is Uri Singer and he is hiding amongst the ranks of the very army which is singularly annihilating his people,the Jews, whilst killing any S.S. officer he can along the way.

Running parallel to all of this is the story of Cecile, a concentration camp Jew surviving by her own mettle and indomitable spirit.

The book's blunt-edged prose grounds this sweeping romance in realism as Bohjalian brings us to the heart of a bloody and brutal conflict in which death happens at the snap of two fingers, and not one character can do a single thing about it. The author isn't afraid to rip out our hearts, just as he isn't afraid to deliver us to happiness, and the ending to this epic struggle is bittersweet. The book excels on more than a stylistic and story-telling level; the characters are complex and have many of their own problems to deal with. In light of Uri's plight and the supposed murder of his entire family, he in turn murders Nazi soldiers remorselessly, some of whom are unaware of exactly what's been going on in these "camps." The reader wants to sympathize with the strong, persistent Mutti who continually puts her family first, but it becomes difficult to do so when her denial of Hitler's atrocities grows larger and larger in scope. Anna is the most conflicted character-she is a young person just emerged from her cocoon, and is beginning to form opinions about the world. When she sees what the leader of her country has done to concentration camp victims, she feels guilty and torn to call herself a German-yet she doesn't know what she can do to atone for living in ignorance.

With unrelenting precision, Bohjalian has sledge-hammered our emotions with the perfect combination of adventure, romance, and realism.

-elln

Animal Collective: Merriweather Post Pavillion

2009-03-05T13:37:00.000-08:00

Animal Collective has always been a study in contrasts. On one hand, there is Noah Lennox, alias Panda Bear, whose similarities to Brian Wilson go past his uncanny vocal impression; he has the same knack for sweet pop and gorgeous simplicity as his forbearer. On the other, there is the brittle, spastic, and astonishingly creative David Pornter, alias Avey Tare, a leaner and much more insecure songwriter than his big fuzzy partner.

As a result, their catalogue is riddled with explosions of hyperactive glee juxtaposed with languid excess, the intentionally bizarre mixed with the amiable and the mundane. They were always melodic, but never accessible. They were always rhythmic, but never danceable.

But on “Merriweather Post Pavilion,” their ninth LP, Animal Collective is a lot less animal and a lot more collective. There is no tortured yowling, no twelve-minute chord-and-a-half hibernations, no nonsensical lyrics or tribal percussion. Instead, there is permeating synthesis between this creative odd couple. Their union has rendered the wild clutter that defined their previous albums unnecessary. “Merriweather” has been melted down to the point where it is defined not by its sounds, but by its songs.

And what songs they are. With Avey’s yelping and Panda’s droning eliminated, this is a sparkling pop album. Everything that Animal Collective has done so well in the past has been shaped and simplified, leaving the end product textured and joyous; the style remains distinct but the tension among the band and the listener has evaporated. The band has also seems to have ended up somewhere closer Panda’s side of the equation, with a several songs sounding like modern remixes of old sixties pop groups. The reverb-soaked “Also Frightened” has all the melodic twists, hazy wordless harmonies and vaguely haunting lyrics (“No one should call you a dreamer”) of The Beatles circa “Magical Mystery Tour,” complete with a slight hint of Indian flavor. “Bluish” has all the sleepy sugar of a slow Beach Boys outtake—check out the hint of Carl Wilson in Avey Tare’s impressively restrained lead vocal—despite its “When you claw me like a cat, I’m beaming” lyrical turn. On some of these songs, Animal Collective outdoes their predecessors completely; “Guys Eyes,” one of the best songs on the album, has a phenomenal vocal arrangement that’s executed with such style that the Beach Boys could only dream of pulling off.

But “Merriweather” hits its true peaks when Animal Collective uses their synergy and newfound contentment to just let go. The absolute best songs on the album feature a deep, intoxicating beat that is right at home even on the modern radio. Avey’s “Summertime Clothes,” his best song on the album, features handclaps, jubilant sliding vocals, thumping bass drums and an African-style bridge, all combined with remarkable ease and simplicity. The chorus of “I want to walk around with you” becomes something irresistible. The album’s closer, Panda’s superb Euro-Afro-techno-who-cares rave “Brother Sport,” has enough hooks to snag even the biggest dance floor deadweight (certainly enough of them are already Animal Collective fans).

And then there is “My Girls.” Already hailed by some as one of the best songs of the millennium, “My Girls” is an idyllic portrait of the American family, with Panda Bear singing with his trademark unpretentious poetry about his need to provide for his wife and daughter: “I don’t mean/ to seem like I care about material things,/like my social status/I just want/four walls and adobe slabs for my girls.” Its shimmery introduction transitions into its simple melody, then builds as Avey starts singing counter to Panda, then doubles the tempo, then launches into a blissful call-and-response bridge showered with stunning sun-drenched harmonies that Panda used so effectively on his 2007 solo effort Person Pitch. The hook that carries the song out is as blissful and simple as anything Animal Collective has written, and it deserves to be an instant classic. When Animal Collective’s songwriters show they are capable of writing like this, their comparative missteps—the tepid “No More Runnin’” and the mundane, appropriately titled “Daily Routine”—are immaterial. They’ve gotten too good to let those mistakes define them anymore.

With Merriweather Post Pavilion charting #3 on the top-selling albums on iTunes, Animal Collective has a genuine hit on their hands. And I want more, no matter how strange it is. As Avey Tare puts it in “Lion in a Coma,” “This wilderness needs to get out of my clothes and get into my bedroom!” Whatever he's talking about, he's right.

-Radelby

Bloc Party's SILENT ALARM

2009-02-11T18:58:00.000-08:00

There's a reason Bloc Party's 2005 break-out debut album and the word "explosive" are so frequently connected. Bloc Party hit the music scene with a sound that is truly unique. You know how U2 has, like, 5 million imitators (Ours, the Airborne Toxic Event, etc.) and sometimes they get pretty damn close to the actual U2 sound? You don't hear Bloc Party imitators, and you don't hear a Bloc Party song and mistake it for someone else's song. No one can touch their sound, especially since it is constantly evolving. And that's why critics jumped on this album like white on rice. Inspired by the post-punk revolution and alt/indie bands such as The Smiths, Bloc Party incorporates alternative rock/garage rock, punk, and post-punk into their musical compositions. In terms of post-punk, well, just compare Okereke in the song "Luno"to Robert Smith and you'll see what I mean. Tight drums and guitars hearken back to the earlier punk movement when songs were short and sweet and "what the hell is a slow song?" reigned supreme. And the melancholic, moody lyrics are pure indie.

SILENT ALARM

We open with "Like Eating Glass" and a whining, high-pitched guitar. This is definitely an album highlight; it opens slowly but with this nagging little promise, and then builds up the sound until you're totally engaged. By the time Okereke's lyrics start ("It's so cold in this house/open mouth swallowing us/the children sent home from school/will not stop crying"), you know this song is going to be an introspective puzzle. While he's busy wailing away, Tong adds tight drums, and the pensive, sorrowful dual ode to and criticism of societal apathy is complete.

"Helicopter" is an even more pointed social and political commentary. The guitars are whiny and driving, and the tempo fast. ("he's born a liar/he'll die a liar/some things will never be different...just like his dad/the same mistakes"). Then we come to one of the most fascinating compositions of the album, "Positive Tension." The first half of the song is not as driven as the first two songs, and actually seems to be going nowhere as Okereke sings vulgar, angry lyrics. Eventually the song begins to build, and around the 2:30 mark it really kicks into high gear; there is a complete shift from a medium tempo to the characteristic fast, drums-and-guitar tight and layered frantic Bloc Party signature sound.

Possibly BP's most popular song, "Banquet" is a hypnotic composition that moves at a rapid, panicking pace and yet is still easily sung-along to. The content deals with emerging from childhood into adulthood, a theme which pervades the album as the members found themselves at the time filled with disillusionment with the world, and a growing struggle with apathy.

"The Bluest Light" is a rare slow song, but doesn't resonate as much as other slow songs on the album; for once, Okereke doesn't seem to be straining his voice, and the lyrics are softer and more romantic than the hard, tough lyrics of previous songs. This song still doesn't resonante with me, however--perhaps because I am still trying to figure out what "You are the bluest light" means.

"She's Hearing Voices" is a neat little break from the album's style, and adds a touch of variety. It manages to be upbeat without so much melancholy; in fact, it seems to be making light of a schizophrenic. In the bridge to the chorus, they experiment a little with the electronic effects which will pervade their later music so much, and the guitar differs from the straight post-punk high-pitched garage guitar as it is infused with electric effects at certain points. It certainly sticks out, and is a good segway into later albums.

Rarely is a love ballad so perfect as "This Modern Love." The tempo is perfect, moving at a medium pace which bars it from being boring, but not at so fast a pace that we can't keep up. The guitars in this song are more sweeping, as is the over-all sound; Okereke, again, has toned down the wounded yelping, as some are apt to call it. We open with incredibly imageric lines ("To be lost in the forest/To be cut adrift/You've been trying to reach me/You bought me a book")
The melody is simple but catchy, and it is truly the lyrics that shine. They dance between acusations ("Baby, you've got to be more discerning/I've never known what's good for me") and subtle declarations of love ("I'll pay for you anytime"). Eventually, the title comes into play, and we hear "This modern love/breaks me/This modern love/wastes me." Feel free to sigh in satisfaction-this is modern satisfaction.

The album lulls here. "Pioneers" is a perfectly respectable song, and one of the most ambitious and outspoken in terms of political statements on the album or in general modern music, but it's not nearly as exciting as "Helicopter" or as poignant as "This Modern Love." "Price of Gas" is catchier, and successfully alternates between basic verses and a catchy chorus; the echoing guitars and the yelping have returned, accompanied by backup voices that have been significantly twisted. The song itself is fairly political, with environmental overtones as well (yay!), which will appear in later albums.

"Little Thoughts" is a refreshing change of tone, and the most commercially viable of all their songs. The lyrics are simple and catchy, as are the guitar hooks.

I'm honestly surprised that "So Here We Are" was released a single--I personally enjoy "Two More Years" much more, which wasn't even released on the original album. Yes "SHWA" builds, and it's slower in tempo than most of the other songs on the album, but it seems to meander along and go nowhere. That's all in comparison to the rest of the album, however; taken out of context, it's still a good, maybe even great, song.

"Luno" lets you know something intense is going to happen because it starts out with heavy, fast drums and bass. The lyrics are cryptic, and the frantic attitude that has categorized the album throughout is back at full force.

If there's any song on the album that echoes critic the assertions that BP is just shy at times of arena/anthem rock, it's "Plans." "Plans" is sweeping, has universal lyrics about the futility of planning one's future, and really solid composition. I'd love to see what would happen if Bloc Party ever decided to incorporate the piano into a song. Unfortunately, they've moved away from this style more and more in recent albums, and into the experimental electronic side of things- which I appreciate, but...oh, well.

"Compliments" finishes the album off. It literally took years for me to get into this ballad of apathy, and you have to be in a pensive or dark mood to really enjoy listening. "Compliments" is not for the faint of heart, and it's on the heavily electronic side of things. I actually think it was courageous of them include it on the album. It's a great song, just think first before sharing it with friends...they might ask if you need to take a Zoloft.

-elln

Gossip Girl Is Very Bad For You

2009-02-08T09:07:00.000-08:00

Every Monday at 8:00 pm, I set my DVR to record the CW. Why?

Gossip Girl.

And no, I am not ashamed.

Gossip Girl is based on Cecily von Ziegesar’s young adult series about over privileged socialite teens at a Manhattan private school. I tried to read it once like four years ago and my eyeballs almost forced their way back inside my skull. Seriously.

So it’s important that I preface this by clarifying that the TV show is nothing like the book series (from what I remember). Everything is bright, glimmering, and melodramatic, but it also has a sense of humor, whereas its literary counterpart spends every page listing all the couture designers worn by the characters. Creator Josh Schwartz (formerly of The O.C.) is smart and keeps everything satirical and completely over the top. It’s pretty much fantastic.

The premise of the show is simple. Mystery Manhattanite blogger Gossip Girl (voiced by the hilarious Kristen Bell) follows the daily travails of the poor-little-rich-girls-and-boys of the Upper East Side.

Much of the show is anchored by the simultaneous friendship and rivalry of Reformed Bad Girl Serena van der Woodsen (they all have names like this, by the way. Except the Humphreys because they’re poor) and her bitchy and controlling best friend Blair Waldorf. The other anchoring theme is the reoccurring disparity between rich and poor, the beautiful fantasy world that they live in and the real world that is… Brooklyn. Well, Brooklyn as represented by the Humphreys.

The Humphreys are poor. We know they’re poor because they live in Brooklyn and ride the subway to school, both of which are clearly things that indicate near-destitution. It’s kind of laughable that the producers expect us to believe the Humphreys are poor even as the camera pans over the expensive-looking accoutrements in their trendy, well-kept Brooklyn loft, but whatever. There are better reasons to hate on the Humphreys.

A reason in itself is faux-intellectual Dan “My Morals Are Higher Than Your Morals” Humphrey. His best friend Vanessa Abrams is an insufferably condescending hipster. And his sister Jenny is so stupid as to almost be mentally deficient. Poor Brooklyn is represented by the three biggest idiots in New York: viewers can’t really be blamed for turning to the person that is their total opposite.

That person is Chuck Bass. Chuck is sleazy, has no moral compunctions, and looks like Jimmy Fallon with a chromosomal disorder. It’s delightful. He has daddy issues and paid someone to take the SATs for him. He owns a burlesque club by the age of 17. Nothing about him is remotely realistic, and everything about him is amazing.

But that’s ok, because one of the best things about this show is the way it’s completely out of touch with reality. I love this one scene where all the sixteen and seventeen-year-olds are partying at Chuck’s burlesque club when a 30something guy walks in. They all stare at him and ask, deadpan, if he’s a little old to be there. Gossip Girl remains likeable because it knows not to take itself seriously. There’s a sense of self-awareness that undercuts the superficial values it promotes: you can see it in everything, even the clothes. The entire aesthetic is prep school on LSD, all neon plaid and bows and clashing colors and as over-the-top as the rest of the show: it’s just escapism. Yes, it’s ridiculous, but it’s also ridiculously fun.

-Riding

Steven Hall's THE RAW SHARK TEXTS

2009-02-05T18:56:00.000-08:00

With its creative employ of mixed media and a feverish plot which can be read two ways, The Raw Shark Texts (and yes, it is a pun on the famous Rorschach inkblot tests) is indeed a masterpiece which spans time and genres.

It's also being made into a movie with the screenplay adapted by Simon Beaufoy, who wrote the screenplay for Slumdog Millionaire.

Steven Hall's use of media throughout the book, and his way of playing with format, is clever and unforgettable; the image of a shark created from text fragments (see right) crops up throughout the novel, notably in a forty-page+ break which slowly depicts the shark swimming closer and closer to the reader.

The shark is called a Ludovician, and it's after Eric Sanderson- the Second Eric Sanderson, that is, and he's receiving help from the First Eric Sanderson who has sent him letters from the past. While Eric's psychologist tells him he has amnesia and that he has forgotten his previous identity, the letters from Eric himself slowly reveal that this may not be the case at all- in fact, a conceptual thought fish has eaten his memory, and this particular fish is a rare predator which locks onto its prey until it completely devours the individual's thoughts, ideas, and memories. If this happens, Eric can live what is called a "twilight life" or a fake existence with no previous memories, until his time for death rapidly approaches. Eager to escape the Ludovician and to understand why it is chasing him, Eric sets out to find the source of the letters with his cat, Ian, and a mysterious woman, Scout.

Slowly, Eric begins to learn about his previous self. Suffering immensely after the death of his girlfriend Clio, the First Eric Sanderson does some very foolish things which lead to the Second Eric Sanderson's current situation. But even if Eric understands all of the clues, will he be able to save himself?

The story itself moves gradually away from reality as Scout and Eric search for the elusive Dr. Trey Fidorous, who presumably has all the answers (Ian's just along for the ride). The immensely satisfying facet of the story is that it can be read two ways- Eric Sanderson is on the frontier of science, but is merely trying to understand himself and to recapture his beloved; or, Eric Sanderson suffers from fugue, a condition which induces amnesia multiple times, and much of the story takes place entirely in his head as he progresses toward insanity and eventual death.

Hall's style is very introspective, and also very lyrical. His words are full to the brim with images, as well as references and memories and tiny details of how Eric views life. While intensely poetic, Hall's technique also manages to be snappy, face-paced, and funny; he captures the quirky every day moments in life and the private dialogue between friends and lovers realistically, something that so many authors try (and fail) to do.

The book itself has a little something for everyone- the basis of Eric Sanderson's conceptual thought fish predator is in science-fiction; riveting chases with the Ludovician are there for those who like action; for mystery-lovers, the whole book is more or less a logic puzzle, and a search for the enigmatic Dr. Fidorous; there is a compelling story of modern love; and, as an added bonus, there is an ambiguous ending.

How much better can it get?

-elln

So Long, Louque...actually, Hello

2009-02-02T09:34:00.000-08:00

"Modern eclecticism" is how Louque describes his music, and critics have corroborated that statement. It's incredibly difficult to categorize Louque's music and style; he has roots in Southern blues and folk, reggae, African drumming, shakers, and guords, slinky electronic synth, and the occasional sun-drenched or melancholic piano phrase. His diversity has brought him success in the soundtrack business, but he has yet to garner commercial success. If we're talking Louque, we're talking niche. And that doesn't make him or his underground following any less good.

Born Dustan Louque, Louque goes by his surname (pronounce it Luke so you don't moronically pronounce it Loke like I did for two years) and draws from both his Southern and Northern environments; he hails from New Orleans and Brooklyn. Louque moved to NY to pursue acting at first, but discontinued school to devote himself to music. Other than that, it's hard to get information about the man; he's incredibly private (but oh so wonderful).

In an interview at the Feeling Better Than Everfine Festival in the summer of 2004 in Cleveland, Ohio, Louque said that he "can go from classical music to drum and bass to reggae to rock..." He added that computers and new technology are what made these new sounds possible.

Speaking about his debut album, So Long, released independently before he joined Lava Records: "the album was made in my bedroom in Brooklyn, pretty much, and I mixed it in the studio."

And then there was his excellent shut-down of the reporter.
Reporter: "I know OAR when they write new stuff they road test it a lot, play it live, then they see what the fans like-"
Louque (cutting him off): "-yeah, I'm not really interested in that...[the record] is more or less a time capsule for me...it's not really, like, what the fans think...it's kind of like, they come with me."

Now, I know there are different opinions about how much fan-pandering any kind of artist should do, but at least we know that Louque is not a sell-out, unlike a few other people I could name...

I think his lyrics rather simple, beautiful, and poetic; not surprising, considering that both F. Scott Fitzgerald and Leonard Cohen are listed under his influences on his myspace.

And now, on to So Long, his first and only album to date (though there should be another one out pretty soon).

SO LONG

We start out with "Perique," a hypnotic, melancholy song with the same lyrics echoing over and over in reverberating distant refrain over the tight snare drums. This song is so relaxed and mesmerizing that it may take a while to grow on you, but it's a real treat once it does.

"Whoa Now" was featured in the movie Disturbia (I haven't seen the movie); it's the most upbeat song on the album, featuring a jazzy opening thanks in large part to piano. Upbeat as it may be, however, it still retains Louque's "cool cat" vibe and remains as swanky as everything else he does. The chorus is a simple departure from his normally pretty nonsense poetry as he sings "whoa now, have you seen? my pretty love's just far away/I'm hoping that she's alright/I love my baby cause she's alright." Shakers and bongos add a nice Latin flavor; I really can't imagine anyone listening to this song and denouncing it as awful.

Perhaps Louque's most beloved song, what sticks in the craw of so many fans is that it's still impossible to get lyrics to "Art." This is my favorite song of all time, and I can still only take a guess at the chorus. Incidentally, I think it goes something along the lines of:

I see you running
keep running
your time's coming
I see you running
a sweet burning
your life story

Louque's crooning, moaning voice coupled with the gorgeous full piano chords, slinky bass, and tight snare, creates a sparse composition that still manages to pack an intense punch. This isn't shoe-gazing walls of sound from the Verve or U2's sensitive, huge, echoing chords. It's simple beauty which makes you want to cry.

"Kenny the Jet" is a mix of NY-style rap and reggae-inspired rap about truth, destiny, and self; heavy lyrics are set over, again, thin drums and a selection of both electronic and obscure instruments. Again, very chill, with a touch of woe.

We already know at this point how fond Louque is of the piano, and "Still in Waiting"'s foundation is built on the sorrowful opening bars from the instrument. Adding in a simple bass line, and, of course, the drums, the sound is gradually built up for this song about being caught in the middle of an impossible dream. The opening lines hint seductively at an enigmatic, furtive journey as Louque sings, "Better watch the song you sing/We don't need no lie...Remember when it all began?"

"Cry Cry" is easily my second-favorite song on the album. The original may have roots in country and Southern rock, but Louque puts a different spin on Mazzy Star's ballad. His version is an updated blues, apparent from the very first opening notes. Both versions are quite beautiful, but Louque's comes through as less of a wallowing anthem of self-pity and more of an admission; his honest voice carries the quality of a surprised confession ("Cry cry for you/just like you knew I wouldn't do"), which sneakily endears the listener to him as we feel his slow, musing pain.

Did I mention that Louque's from the South? "Lifeline" has a pained chorus that hearkens back to Southern slave songs, while Louque himself sings about the challenges of, as Bloc Party would put it, "This Modern Love."

"I Did" is not, I have to say, my album favorite. The lyrics? I'm all there- it's question-packed and heartfelt, and has possibly some of the best work on the album in terms of writing. But I don't think the melody quite jibes with the song; frankly, if Louque is boring anywhere, it's on this song. But don't knock it til you try it.

Album closer "Time Will Take" is sufficiently bluesy but also suffused with the most rock quality of the whole album. It's too upbeat to be described as melancholy, but it's still tinged with sorrow. Very singable, calm, and, again, hypnotic. The melody continues to build while becoming more and more optimistic.

-elln

Lisa Carey's THE MERMAIDS SINGING

2009-01-31T17:24:00.000-08:00

I find it amazing that Lisa Carey remains as obscure as she does. She is a brilliant, beautiful, lyrical writer who crafts complex and intersecting masterpieces about everyday life and tragedy.

Her first novel remains my favorite work of hers- in fact, it's my favorite book of all time, though my introduction to it was quite unorthodox. When I checked it out from my local library it was misfiled in the YA section. You can imagine how my poor little 12-year-old eyes bugged out of my head when I realized that I was reading graphic sex scenes. I did finish the book, however, and realized how absolutely stunning it is. I've read it probably more than ten times since then, and each time I discover something new.

The book starts with a poem by W.B. Yeats, which is always a win. It's my favorite poem, entitled "When You Are Old."

We are introduced to Grace, who rises "quietly, so as not to disturb her lover." Grace, we learn, has cancer. She also has a teenage daughter, named Grainne (Graw-nya). Quickly, we learn that life is not a fairy-tale for these women, who seem unable to communicate with one another since Grace contracted cancer. Instead, they leave notes for one another on the fridge, or in the night.

The story unfolds along so many paths that it is hard to explain them-it ducks in and out of the past, and weaves between Grainne's present and the past, when Grace was alive. Grace dies quite early in the book, however that is not the end of story. As we follow Grainne into her own confused future-her move to Ireland from the U.S. to stay with her grandmother, and her exploration of herself as a young woman- we move into Grace's past and explore the decisions that this young, fierce, free spirit made which led to her having a child and never speaking with her mother again.

Grace's mother, Cliona, takes Grainne in. Eventually, part of Cliona's past is revealed. What is truly a feat of Carey's is how she is able to create a mother and daughter who fight so fiercely, and who absolutely cannot get along, yet who both garner our sympathies. Even proud Cliona, who admits her wrongs years later when looking at Grainne and realizing that Grace "got it right" gathers our sympathies effortlessly.

The exploration of tragedy is certainly present as Grainne tries to cope with the loss of her simultaneously best friend and mother, and Cliona tries to come to terms with the death of a daughter she neither knew nor understood. But the search for meaning and heritage is overwhelmingly present as well, as Grainne strives to meet the father she never knew. And romantic love isn't lacking either. Grainne slowly and rewardingly falls for childhood friend Liam after destructively lusting after her mother's 28-year-old boyfriend Stephen for several months. Cliona explains the conception of Grace and the confused illusions of love which accompanied it; she also justifies why she settled for a man whom she loves domestically. But the most compelling stories of love come from the brazen, beautiful life of Grace; she is destroyed by her first love, Michael, and is brought back to life by the enigmatic, idealistic Seamus.

The craft of the book itself is incredibly lyrical. It is poetic writing personified. Phrases themselves are delicious reading apart from their contextual meaning. I cannot begin to describe the poignant melancholy and simultaneous pleasure and pain I get from reading this book. The final element which completes the design of such a wondrous piece is the element of myth; the mermaids are continually referred to in the moaning wind, and Grainne almost falls into the water after claiming to have been drawn there by something in the water; Grace assumes it is a shark. We know that it is (possibly) a mermaid; we want to believe that it is a mermaid. The real world and a world of legends and myths have collided and created a penetrating, epic story of love and loss.

-elln

Isn't It Good, Norwegian Wood

2009-01-31T10:32:00.000-08:00

Coming of age stories have been a staple in the literary world for centuries. Many know the trials of Huck Finn and his quest on the raft with Jim or Holden Caulfield and his distaste for phonies. Then there is Norwegian Wood, written by Haruki Murakami. Norwegian Wood's protagonist is Toru Watanabe and tells the story of his struggle to find his place in a world that seems to only feature suicide and the injustice of unattainable love.

Haruki Murakami is one of the most prominent figures of contemporary Japanese literature. He is known for his avant-garde works; such titles as Hard-Boiled Wonderland and The End of the World spring to mind. But then he emerged with Norwegian Wood.

Norwegian Wood transformed Murakami into a star in Japan, much to his dismay, and the Japanese youth cleaved onto the novel. However, many of Murakami's contemporaries saw Norwegian Wood as a mere love story- something that Murakami should never have deigned to write.

Despite its mainstream formula, Norwegian Wood is one of the most poignant and moving "love stories" that I have yet to come across, and the beauty is in its simplicity.

Toru Watanabe is a college student in 1969 and is majoring in drama, but has no aspirations or goals. His single devotion is to Naoko. Naoko is the beautiful and fragile girl who is the only remaining link to his happier past. Naoko was Toru's best friend's, Kizuki's, girlfriend. However Kizuki inexplicably commits suicide.

This sends Toru and, even more so Naoko, into a downward spiral. Soon Naoko and Toru become involved with each other, culminating when Naoko and Toru sleep together on Naoko's twentieth birthday. Consumed by guilt, as she never slept with Kizuki, Naoko flees to a remote sanatorium to convalesce.

Toru continues his life at college where he soon finds himself drawn to a vivacious and sensual student, Midori Kobayashi. As his friendship with Midori grows, his contact with Naoko wanes; the more extroverted Toru becomes, the less sane Naoko becomes.

Norwegian Wood, though at times too neatly wrapped up in its own tragedy, heartbreakingly tells the story of one person's simple love story and his journey to adulthood.

-Acerbec

When the Nicholas Sparks Formula is Trampled by Wild Horses (Nights in Rodanthe)

2009-01-29T12:27:00.000-08:00

So on the plane ride back from Italy, I was subjected to the latest Nicholas Sparks movie-turned-novel slush-fest that is Nights in Rodanthe. Now, granted, I adore The Notebook, I think it's a great movie and there are reasons for that. I have much more mixed feelings about A Walk to Remember (namely the vomitatiously flawless, marytred characters). But Nights in Rodanthe sealed my opinion that, with The Notebook, Sparks, thanks in part to director Nick Cassavetes, struck gold for the first and last time.

Basically, Adrienne Willis (Diane Lane) is an almost-divorcee whose marriage seems to be falling apart. In the interim, she is running her friend Jean's house-turned-hotel on the beach in The Middle of Nowhere. And in walks Paul Flanner (Richard Gere), a successful, well-dressed doctor who has some mysterious tragic purpose for coming out to Bumfuck. Turns out he accidentally killed a patient because he was distracted by his personal life during the operation (except that in a later, garbled explanation, it turns out she was actually allergic to the anaesthesia, so Gere neatly slips out of that moral noose). And then they fall in love.

Which would all be fine if the resolution to the possibly interesting moral obstacle weren't solved so quickly and easily and by such a nice, forgiving man as the dead lady's husband. It's lucky the acting is good, such as Scott Glenn's performance as Robert Torrelson, the dead woman's husband, or else you might as well have substituted cardboard cutouts in for the characters.

And then there's the script. Ugh. This is the key problem in the film. The dialogue is so melodramatic, so ridiculous, and so contrived that it's hard to keep a straight face even when Diane Lane is sobbing hysterically and clutching a letter to her chest because the whole story has been so goofy. Especially priceless are the arguments Lane has with her daughter Amanda, played by Mae Whitman. Then you have lines like:

Lane, looking wistful and tracing the tabletop with a single finger: "I gave up art...when I got married..."

oh yeah. Real subtle.

Then there's the deep conversations between Lane and Gere during their courtship:

"What's this box, Adrienne?"
"I made that. It's to keep special things safe."
"Yes, Adrienne, but what keeps you safe?"

"..."
"Your PENIS!"

But seriously. Maybe people in real life do say idiotic stuff like that to each other. Not me.

I won't discuss the tornado scene. Let's just say that it was possibly one of the most confusing, ill-constructed scenes in a movie I've ever seen.

Even the one original plot twist is screwed up by goopy, icky slow-motion flashbacks of the tragedy and how it EXACTLY happened so that the audience can, purportedly, be further tortured and shed buckets of tears. I was rolling my eyes, and I'm not even a cynic.

Seriously, this movie was awful. The culmination of all of this awfulness, however, was the wild horses. We're clued in at the beginning that, because Lane says, "No, the wild horses never come this far up the coast," that exactly the opposite will happen. And then, at the end of the movie, Lane is walking down the beach melancholically and what do you know? Thirty, count 'em, thirty horses or more come galloping full-speed down the beach, manes billowing brilliantly in the wind. I know that horses are naturally herd animals, but when I was on Chincoteague I never saw more than two or three horses together at a time. Perhaps the movie would have been more interesting if Lane was trampled at the end.

-elln