Retrospecticus: Beastie Boys

Our week of retrospecticuses continues with a look back at the career of the Beastie Boys, who’s Hot Sauce Committee Part 2drops this week. It’s probably not even the album that comes out this week that I’m most excited about, but still, the last time the Beasties released a proper hip-hop album was during Bush’s first term. So it’s not like I’m gonna get another chance to do this again anytime soon.

Licensed To Ill (1986)

The Beastie Boys arrived on the scene with a bit of a bang, as their debut Licensed To Ill was the first hip-hop album to top the Billboard album charts, and would end up being the top selling hip-hop album of the decade. What made the Beasties so accessible to so many people including non-hip-hop fans was that they were willing to mix elements of hard rock with old school hip-hop beats, while infusing a style and attitude that was simply one of a kind. Also, a lot of the songs are just undeniably catchy, despite their undeniably simplistic and juvenile lyrical content.

Some people even tend to think that this was the high point of the Beastie Boys career, but honestly I’ve never been that huge of a fan of License To Ill, although I’ll admit the album does have a loutish frat-boy charm to it. And since John’s already done a CAT for this album, I don’t really feel the need to talk about it in further detail.

Favorite Tracks: “Girls”, “No Sleep Til Brooklyn”, “Brass Monkey”

Paul’s Boutique (1989)

It probably says quite a bit about my hip-hop credibility that my favorite hip-hop album of all time was created by a bunch of white jews, but Paul’s Boutique is just that. Trading in their mix of B-boy hip-hop and hard rock for a smorgasborg of samples ranging from Public Enemy to The Beatles to Bernard Herrmann, Paul’s Boutique was probably the first album that truly turned sampling in to an art form. Of course, sampling had been around since the inception of hip-hop, but with the help of producers the Dust Brothers, the Beastie Boys created something that was oddly familiar and yet it’s own bizarre entity.

In addition to this sample-fueled sound, the Beastie Boys stepped up their rap game, with rhymes that are considerably more intricate than those of their Licensed To Ill days, and are filled with a plethora of irreverent and often hilarious pop culture references. Of course, many saw Paul’s Boutique as a bit of a dissapointment in comparison to Licensed To Ill, as it was a complete turn in another direction and was a commercial flop on release. However, now it’s easy to see that Paul’s Boutique was years ahead of its time and is one of those hip-hop records that you just gotta check out at some point.

Favorite Tracks: “Shake Your Rump”, “Egg Man”, “Looking Down The Barrel Of A Gun”

Check Your Head (1992)

After the misunderstood triumph of Paul’s Boutique, the Beasties once again decide to take their sound in another radically different direction with Check Your Head. This release saw the band abandoning their previously sample-heavy sound for a more organic approach, as most of the album sees the band returning to their roots as a hardcore punk band, as they play their own instruments on most of the tracks.

Though there is an inkling of hardcore punk in the songs on Check Your Head, there’s also an undeniable influence of funk that fuses with a hard rock sound that makes songs like “Gratitude” and “Funky Boss” undeniably bad-ass. Also, songs like “Groove Holmes” and “Pow” exploring Meters-like instrumentals that show the Beasties displaying a surprising musical prowess in laying down some funky jams. Also, in addition to being another first rate effort from the Beastie Boys, Check Your Head returned the Beasties to more mainstream success with the stone-cold single “So What’cha Want”.

Favorite Tracks: “Jimmy James”, “Gratitude”, “So What’cha Want”

Ill Communication (1994)

Ill Communication is a bit of an oddity in the Beastie Boys’ discography in that for once the Beastie Boys didn’t really mix-up their sound, as the album has the same dusty funk infused sound that was seen on Check Your Head. But really, I don’t have any problem with that, and it’s pretty hard to complain when the album features a few of their finest songs.

The most notable song of course would have to be the Beastie Boys’ noisy opus “Sabotage”, a song that probably remains the finest culmination of rap and hard rock that’s ever been produced. Really the only complaint I have about Ill Communication is that it probably features a few too many instrumental funk jams and not enough of the Beasties’ irreverent rhymes that are seen on songs like “Sure Shot” and “Get It Together”.

Favorite Tracks:“Sure Shot”, “Root Down”, “Sabotage”

Hello Nasty (1998)

This album in many ways saw the Beasties embracing the good time vibes of the late nineties, and it’s just a really fun little album. Actually little probably isn’t the best word to describe it considering Hello Nasty‘s 73 minute running time, so there’s definitely a fairly sprawling sound to it.

They really throw a little bit of everything in to the album, as there are strains of all the different sounds that the Beastie Boys have inhabited, while they also manage to mix in electronic and lounge music to the Beastie’s already diverse range of influences. The album also features a surprising amount of singing instead of rapping on songs like “Song For The Man”, “I Don’t Know”, which have a sort of contemporary rock sound to them. And I think it’s because of this diverse sound that the album really works, as Hello Nasty is almost always entertaining despite it’s lenghty running time.

Favorite Tracks: “Super Disco Breakin'”, “Remote Control”, “Intergalactic”

To The 5 Boroughs (2004)

After 1998’s Hello Nasty, the Beasties went a long time without releasing new music, and in that time a lot had changed in their beloved NYC. So it’s not surprising that the Beasties paid tribute to New York in the album’s title and throughout the album, especially on the track “An Open Letter To NYC”.

And because To The 5 Boroughs shows the Beastie Boys six years removed from their last album and almost two decades from their debut, the Beasties seem pretty content with embracing their elder statesman of hip-hop persona, rather than trying to be on the cutting edge. But I think it’s this interest in dancing to the beat of their own funky drummer that has kept the Beastie Boys relevant, when most hip-hop artists stick around for only a few years before fading due to the ever changing trends of the genre. To The 5 Boroughs might not see the Beastie Boys sounding quite as vital or innovative as in the early days, but it still sees them thriving in the kind of old-school hip-hop that has always been at the heart of their sound, and that’s alright with me.

Favorite Tracks: “Ch-Ch-Check It Out”, “Right Right Now Now”, “Triple Trouble”

The Mix-Up (2007)

I wasn’t really sure whether to include this album since I’ve hardly spent any time listening to it, and I don’t really have much to say about it. But anyways, on Check Your Head and Ill Communication there were a number of instrumental tracks that sounded heavily inspired by The Meters’ organ-fueled brand of funk, and I guess they decided to pursue nothing but that sound over the course of The Mix-Up. So if you’re looking for some of the Beasties’ tasty rhymes, this obviously isn’t the album for you since it’s an entirely instrumental album. I mean it’s fine for what it is, but it’s not really to the type of thing I want to listen to when I’m in the mood for The Beastie Boys. But with Hot Sauce Committee Part Two coming out today, we finally get to see the Beastie Boys once again laying down some funky fresh rhymes.

Favorite Tracks: “B For My Name”, “Electric Worm”, “Off The Grid”

Retrospecticus: The Fast and the Furious

It’s the eternal question: how can there really be five The Fast and the Furious movies? I thought that first movie was just a big long ad for NOS (it was). How can a franchise based on car fetishism and bro love become one of the longest-running in recent cinema history? Honestly, I don’t know. But I have seen them all now, so I can at least tell you how I feel about them.

The Fast and the Furious (2001)

The first entry in the franchise had more in common with Point Break than the 1955 from which it stole its title. Its a hyper macho story of Brian O’Conner (Paul Walker), an undercover cop who infiltrates the Los Angeles street racing scene in the hopes of finding the crew responsible for a string of high-speed semi hijackings. Brian falls in with Dom (Vin Diesel) and his team, featuring Vince, who distrusts Brian, Dom’s girlfriend, Letty (Michelle Rodriguez) and Dom’s sister, Mia (Jordana Brewster). Everything seems great for Brian: the racing is fun, Mia seems to be into him and Dom quickly becomes a good friend. But after getting the wrong guys arrested, Brian has to face the reality: it’s Dom and his family that have been ripping off the truckers. It all comes to a head at “race war,” a big event for 10-second racers. Some people get killed, the heist goes bad, in the end Brian chases down Dom. Dom wrecks, but Brian lets him escape. Crazy, I know. Sure, the acting and writing might not be top notch, but the driving sequences are genuinely thrilling and the movie is just slick enough that it gets a pass in my book.

2 Fast 2 Furious (2003)

Vin Diesel and The Fast and The Furious director Rob Cohen decided that making xXx was a good idea, so the second film in the franchise had to follow Brian’s adventures after ruining the lives of Dom and his crew. It turns out Brian’s life hasn’t been so great since he let Dom go, in fact he’s turned to a life of crime, becoming a full-time street racer. His good friend Tej (Ludacris) holds a crazy race, which Brian wins, but results in him getting captured by the Feds. They offer him a deal: forgiveness for his crimes if he can help bring down a drug lord. Brian gets the same deal for his old buddy Roman (Tyrese Gibson) and the two go deep undercover with Monica (Eva Mendes) a customs agent. Brian and Roman are hired to run money for the drug lord and consider taking it all for themselves. However, motivated by a desire to save Monica, the duo come back and save the day, deciding only to skim a little off the top. This movie is by a significant margin the worst in the franchise. It’s like the whole cast is secretly in a bad acting competition, where everyone is trying to give the worst take that actually makes it into the final film. Devon Aoki would probably win that competition, but Tyrese Gibson gives her a run for her money. It does have a certain ridiculous charm to it, at 2 Fast 2 Furious is watchable, but I wouldn’t go out of my way to see it again.

The Fast and the Furious: Tokyo Drift (2006)

After 2 Fast 2 Furious, it was time to clean house. That’s usually the case when Eva Mendes is the best actor at your disposal. So the next title in the franchise abandoned the cast, the setting and even the style of racing. Tokyo Drift opens with Sean (Lucas Black) getting in an accident after racing Brad from Home Improvement. As a punishment, Sean’s sent to live in Tokyo with his father. Yeah, that’s rough. Sean is not so happy about his situation, until he befriends Twinkie (Bow Wow) and gets introduced to Tokyo’s underground racing scene. After an embarrassing loss to DK, the nephew of a yakuza boss (Sonny Chiba), he’s taken under the wing of Han, who teaches Sean in the art of drifting. Long story short, Han ends up dead and Sean defeats DK in an epic final race. As the new king of the Tokyo racing scene, everything seems great for Sean until he meets a new challenger: Han’s old friend, Dom, in a cameo appearance. Tokyo Drift is dumb in all the right ways, and the performances are infinitely more tolerable than in 2 Fast 2 Furious, though still not great. The Japanese setting lends a magical element to the film, as does the preposterous style of racing. While this characterization of Japanese culture is a little frustrating, especially the insistence that “gaijin” is an insult when it’s not really, Tokyo Drift is a lot of stupid fun.

Fast & Furious (2009)

After mucking about with a bunch of people that were not Vin Diesel, the fourth entry in the series had to bring things back to basics. That meant basically giving it the same title as the first movie and getting the important members of the original cast to come back. Fast & Furious opens with an insane hijacking sequence in the Dominican Republic. It turns out Dom and Letty are rolling with a new crew featuring Tego, Rico and Han – oh my God, it’s a prequel to Tokyo Drift! The heat is pretty intense on Dom, so he decides to split the team up. This backfires when he finds out that Letty has died back in L.A. Meanwhile, Brian has worked his way into the F.B.I. and is tracking down another drug dealer, Braga. Dom comes back to the States to avenge Letty and it quickly becomes clear he and Brian are hunting the same person. Dom and Brian join Braga’s crew, where Dom catches the eye of Gisele, Braga’s liaison. Everyone gets pissed off, but eventually Dom and Brian apprehend Braga on their own. Dom decides to turn himself in, which backfires when he is sentenced to 25 years without parole. But, when all seems lost, Dom’s prison bus is surrounded by some vicious-looking racing cars driven by Brian and Mia. Fast & Furious is the least interesting entry in the series, it’s pretty bland. It’s just a really average summer action movie, lacking that special ridiculousness that makes this series so fun.

So, what happens next? How will Brian, Mia and the others get Dom out of that bus? I guess will have to find out together, in Fast Five.

Retrospecticus: The Coen Brothers

For over twenty years, Ethan and Joel Coen have defied modern conventions with some of the most unusual, bold, and inventive films around. They’ve tackled countless genres and reinvented themselves time and time again, making them some of the most innovative filmmakers of their era. In preparation of True Grit i have assembled this list of the duo’s complete filmography, which I will discuss in varying lengths. Just remember that these are like, my opinions man, so don’t take it too seriously.

Blood Simple (1984)

Where it all started, the eerie, neo noir, thriller, that is Blood Simple. It’s an impressive first film in many areas. The Cinematography (By future director Barry Sonnenfeld is increasingly ingenious), the score by Carter Burwell is excellent , the cast featuring; Frances McDormand, John Getz, Dan Hedaya and M. Emmet Walsh (easily the best) to name a few are thrilling, and the suspense is never ending. The perfect film to begin a career of masterful filmmaking.

Raising Arizona (1987)

After their brooding debut, the Coen’s took on what would be their first of many genre blurring films, the dark comedy Raising Arizona. In any other hands this film could of been a huge misfire, but instead it went on to be one of the Coen’s most enduring comedies.

It’s a great setup when ex-con Hi McDunnough (Nicolas Cage) and ex-cop “Ed” (Holly Hunter) decide to kidnap one of the five sons of a wealthy furniture salesman, Nathan Arizona (Trey Wilson). I mean in any other hands this project would sound like an instant failure, but the Coen’s were ahead of the curb with this one. From the dialogue, to the setting, to the supporting cast of nuts (John Goodman, William Forsythe, Randall Cobb) this film still stands out as a delightfully different comedy.

Miller’s Crossing (1990)

One of my rare departures from the general consensus, I find Miller’s Crossing to be a challenging film. Inspired by the hard boiled fiction of Dashiell Hammett, Miller’s Crossing is an intricately woven mystery thriller, but I find the dense plot hard to get into.

Though I’m definitely in the minority on this one, as the critics really fell for this gangster flick. One thing I think everyone can agree on is the performances. A shining moment for character actors like Gabriel Byrne, Albert Finney, and John Turturro as apposed to casting bigger names.

Barton Fink (1991)

I don’t know how the hell you’d classify this movie, but man what an experience. John Turturro is hilarious as the young and nervous title character, stressing over a script while inhabiting a dreary L.A. hotel that seems to have a life of it’s own. John Goodman is equally amusing as the mysterious insurance salesman Charlie and what follows is chaos of the best kind.

Masterfully layered, acted, and photographed. The ambiguity of all the visual symbolism leaves you with a lot of questions, but I like that. It gives you the opportunity to personally dissect all the details and make your own connections, very compelling.

The Hudsucker Proxy (1994)

I think when people heard the Coen’s were taking on the absurdities of the business world they were anticipating something a tad, well smarter. Possibly a razor sharp satire or something more insightful, not an over-the-top, screwball comedy that knows no bounds. It’s penchant for being silly is in my eyes both it’s gift and curse. Either you’ll laugh at quirks like Jennifer Jason Leigh’s fast talking delivery and Tim Robbin’s air headed demeanor, or you won’t.

I can see why some dislike it’s silly nature, as it does tend to hamper the latter half of the film. Though I think it’s style and humor saves it, how could you not like Tim Robbins as a bumbling mail clerk who becomes the CEO of a big whig company? Anything with Paul Newman can’t be that half bad either, ooh or Coen Brother’s pal Bruce Campbell. The Coen’s probably didn’t win any new fans with this one, but they definitely furthered their reputation for being unconventional.

Fargo (1996)

If you could take one film to sum up the Coen’s entire career, it would probably be Fargo. For no other Coen film features the duo’s trademark humor, suspense, and atmosphere as well as this classic dark comedy. Frances McDormand stars in the role of her life as the likable, humble and humorous police chief Marge Gunderson and shines in almost every scene. The supporting cast is equally impressive with the likes of William H. Macy, Steve Buscemi and the very creepy Peter Stormare.

The laughs are big, the thrills are nonstop, the setting is beautiful, and the story is timeless. This film is more or less the definition of dark comedy and never fails at entertaining, while giving you something to think about, oh ya you bet cha.

The Big Lebowski (1998)

I don’t think many would argue that this is the Coen’s most popular film and why not? The characters are refreshingly unique and ridiculous and are constantly put into completely unpredictable situations. It’s the little details more than anything that fans remember; The Dude’s interests, Walter’s stories about faith and war, Donnie’s incessant questions and all the other quirks. It’s spawned an entire culture of swanky fandom and burrowed itself deep into pop culture with it’s quotes and overall style.

The Big Lebowski essentially plays out like a stoner mystery movie. It’s a dysfunctional, rambling, series of events that perfectly suits it’s dysfunctional characters. You never know what The Dude will encounter next and although that results in a bit of a sloppy storyline, it’s a whole bag of fun to watch. Jeff Bridges is arguably in the role of his life and yet he’s still almost upstaged by the immensely talented John Goodman. There’s so much to talk about with this film that I won’t even try. Just kickback with a White Russian, blast some Creedence, and then watch The Big Lebowski

O Brother, Where Art Thou? (2000)

Homer’s Odyssey meets the Great Depression in the deep south? Now that’s a recipe for a comedy of epic proportions. O Brother Where Art Thou may have been and still may be the most daring Coen production assembled. A period piece set against such a vast setting, would mainstream audiences be ready to see the Coens take on such a big Hollywood project? Thankfully they did and more! George Clooney leads a great cast of misfits, the visuals are jaw dropping, and the story has a timeless feel to it.

This is a film you can enjoy on many different levels. One, you could just enjoy it as a comedy about three bumbling convicts (George Clooney, John Turturro, Tim Blake Nelson) running into a series of misadventures, or two, as something rich with visual metaphors and parallels to classic literature, it’s surprisingly complex. Can’t forget that soundtrack arranged by T-Bone Burnett either, classic.

The Man Who Wasn’t There (2001)

The fact this film is constantly overlooked and perhaps the least known Coen film is almost too perfect. It’s a subtle film and title practically sums up the whole thing. A subdued Billy Bob Thornton plays barber Ed Crane, a simple man who inexplicably becomes involved in both blackmail and murder. Set against the back drop of 1940s Santa Rosa, California and filmed in stunning black and white, The Man Who Wasn’t There is a chilling tribute to film noir. The mood is quiet but unnerving and I have to say this may be my favorite Carter Burwell musical score for a Coen Brothers movie.

It’s pacing is slow and its payoff may not bewhat you’d expect, but the story is compelling and the acting is pitch perfect. Thornton doesn’t even have to say anything to bring you into the scene and seasoned pros like Frances McDormand, James Gandolfini, and my favorite Michael Badaluco as Ed’s overly talkative brother-in-law, keep it very interesting.

Intolerable Cruelty (2003)

Sometimes it seems like the Coens wont rest until they’ve tackled every genre. Intolerable Cruelty just happens to be the duo’s stab at the romantic comedy, often considered one of their weaker efforts, it’s fluff but it’s fun. George Clooney turns up the Clooney charm as divorce attorney Miles Massey, infamous as the inventor of the “Massey Prenup”. Though things get messy when he starts to fall for his clients wife Marilyn Rexroth (Catherine Zeta-Jone), which only further tailspins into deception.

The story that develops here is actually fairly original, for it’s not so original premise. The twists and turns are well devised and it’s two beautiful celebrities are entertaining to watch. The supporting cast is a mixed bag, I mean I love Edward Herrmann as Miles’ client and Geoffrey Rush is fine, though his role feels small, but Cedric the Entertainer wasn’t doing it for me and Billy Bob Thornton is okay, but his character is a little hard to swallow. Intoelrable Cruelty is easy on the eyes, but no more than a footnote when looking at the rest of the Coen filmography.

The Ladykillers (2004)

Even when the Coen’s misfire, they do it with style. The Ladykillers is easily the duo’s worst film; the characters are broad with one note personalities, the laughs are far too few, and there doesn’t seem to be much heart to it. Really it was hardly necessary as the original 1955 heist film is considered a classic. That all said this film still has the pleasure of being coated with that Coen shine. Roger Deakins cinematography is top notch, Carter Burwell and T-Bone Burnett’s score is befitting and it’s just approached with such a unique manner. Plus it’s got Tom Hanks, and even Hank’s in a bad movie is fun to some extent.

No Country For Old Men (2007)

Razor sharp thriller, faithful literary adaptation, Oscar winner, what else is there to say about No Country for Old Men? It’s a modern American classic that goes for the jugular while simultaneously operating on a philosophical level. It’s talented novelist Cormac McCarthy’s words brought to life in such a thrilling way, that it actually surpasses his original work. The Blue collared banter between Llewelyn (Josh Brolin) and his wife Carla Jean (Kelly McDonald ) is priceless and Tommy Lee Jones is strong in the role of the old school Sheriff Tom Bell. Although it’s Javier Bardem who steals the show, in his academy award winning role as villainous hitman Anton Chigurh, gives me the creeps just thinking about it.

This has quickly become the Coen brothers film dearest to my heart. It doesn’t quite have the humor of past Coen works, but it’s one of the best thrillers of it’s era and my favorite film of the 2000s, god I wanna watch it right now!

Burn After Reading (2008)

Following up their big Oscar Win, the Coens returned to form with the typical, quirky, dark comedy that is Burn After Reading. More or less a spoof on the espionage thriller genre, Burn After Reading features all your usual Coen collaborators, playing your typical oddball Coen characters. It’s hard to pick a favorite when you have so many talented stars acting so silly. You got George Clooney as the sickeningly smug former U.S. Marshall, Frances McDormand and Brad Pitt as a pair of bumbling gym employees, John Malkovich and Tilda Swinton as the icy cold couple, it’s all the stuff you love to see in a Coen Bros. flick.

A Serious Man (2009)

Perhaps the most personal work from Ethan and Joel yet, set in their homestate of Minnesota during the 1960s, A Serious Man is an offbeat comedy about life, death, sex, faith and everything else that can go sour when you’re simply trying to live a just life.

Michael Stuhlbarg gives an unforgettable performance as professor Larry Gopnik, who despite his efforts, always seems to get the short end of the stick. His wife (Sari Lennick) wants a traditional jewish divorce, his reckless brother Arthur (Richard Kind) wont leave the couch, one of his students maybe blackmailing him and Larry can’t seem to get any answers to his woes on life.

Upon first viewing I was actually disappointed by this film. I loved the humor and style, but the ending seemed so abrupt and dark, but as I’ve come to understand more of what’s under the surface, I’ve really come to love this film. It’s so unlike any other comedy about dysfunctional families, with it’s rich metaphors and meanings permeating through the tension of it’s characters. It just goes to show that even after 20 odd years, the Coen’s haven’t skipped a beat.

What Lies Ahead?
True Grit is the latest from the duo and I’m sure it will be another interesting entry in this diverse filmography. Look for a review from Colin coming soon.

I’m yet to see the Coen’s short for the the film Paris, je t’aime, but not for long, Otteni out.

Retrospecticus: Jon Favreau

OK. I’m not going to be the only one not to do a Retrospecticus. So we’re going to take a short look at the career of director Jon Favreau. Why? Iron Man 2 comes out on Friday. Good enough. Favreau’s not exactly a prolific director, but I certainly enjoy his work. Are you going to complain about this? No. You’re not.

Swingers (1996)

While he didn’t direct Swingers, Favreau did write and star in the movie, and for all intents and purposes, his career starts here. This is a manly movie about single men of the 1990s trying to make and name for themselves and survive on the Hollywood dating scene. The movie made Vince Vaughn a star as Trent, a smooth operator who knows all the moves and rules necessary to seduce a dame. But our hero is Favreau as the timid, lonely Mike. Mike is recovering from a tough break up and has a hard time making new connections, much to his friends’ chagrin. This is definitely a guy movie, and watching these characters talk about dating strategies, play video games, and ridicule each other is a lot of fun. With a ton of pop culture references and cinematic homages, this isn’t necessarily genius-level material, but it is very entertaining. Kind of a theme for Favreau’s career.

Made (2001)

In my experience, Made doesn’t have much of a rep, good or bad. Which is a shame, since it’s actually a really solid comedy. You could call it Swingers as gangsters, since this is another movie that depends entirely on the interplay between Favreau and Vaughn. Favreau is once again the straight man, a L.A. mobster tough guy named Bobby who has to redeem himself after he roughs up the wrong guy. His boss sends him to New York on a job, and he brings his lifelong friend Ricky (Vaughn) with him. They get into some wacky situations, but the movie is all about Bobby and Ricky arguing with each other. Ricky is the main comedic attraction, as when he’s not fighting with Bobby, he’s making an ass of himself with everyone else. The movie also features a number of recognizable faces, including Sam Rockwell and Sean Combs. Good stuff.

Elf (2003)

Already a Christmas classic, it’s hard to believe Elf is almost seven years old. It’s also surprising that this is only Favreau’s second stint behind the camera, as he is as capable as ever. That said, this movie totally belongs to Will Ferrell. His portrayal of Buddy, a human that was raised by Santa’s elves, is so endearing that I’ve yet to meet a person who could resist his charms. Whether he’s sitting on Bob Newhart’s lap or eating a disgusting breakfast, you just gotta like the guy. I have a hard time criticizing the film because I’m perfectly content with it as it is. Yes, the ending is pretty weak. And yes, you shouldn’t ever compromise or “take of your critic hat,” but let’s face it, you’re going to be stuck watching something on Christmas. I’m more than happy to welcome it into the pantheon of consistently enjoyable holiday movies.

Zathura: A Space Adventure (2005)

After the success of Elf, studio heads must have declared Favreau a family-friendly film savant, so they put him in charge of the Jumanji successor Zathura. Just like the 1990s hit, this film puts some bickering children in very real danger when the events described in an old board game start happening in real life. The movie starts out with a references to Milton Bradley (the ballplayer), which I appreciated. Tim Robbins is dad and Kristen Stewart is big sister, but the stars are two little boys played by Jonah Bobo and Josh Hutcherson. Also Dax Shepard is an astronaut. This certainly is not a masterpiece, but for a kid’s movie, it’s fine. I never really liked either of the child actor stars. Frankly the movie is too long as well, it didn’t really hold my attention for a meaty chunk in the middle. But it’s not that bad. I just wouldn’t be in a hurry to see it. I only saw it so I could do this post.

Iron Man (2008)

Much like Elf, Iron Man is a movie propelled by its star. This time, it’s Robert Downey, Jr. as the eponymous hero, but more importantly his alter ego Tony Stark. It’s rare for a modern comic book movie to rely so much on comedy, and even rarer for it to work so well. But beyond the amusing bits, Iron Man also manages to pack in some pretty sweet CG sequences. Remember when he goes back to Afghanistan and just wipes those dudes out. That was pretty neat. Also like Elf, the ending was a little disappointing. Except for the very end of the movie, when Stark proves why he’s a different kind of super hero. This was the beginning of the Marvel push for an Avengers movie, and frankly, as long as RDJ keeps playing Iron Man, I’ll be happy.

This brings us to today. Just a couple days away from Iron Man 2, and only a couple years from the amazingly-titled Cowboys and Aliens.

Retrospecticus: The New Pornographers

I was working on this and thought it would make Colin shit the bed if I made it three retrospectici (plural?) in a row. My all time favorite alternative super-group is coming out with a new album tomorrow. I’m glad I pre-ordered it on iTunes so that they can bill me when it comes out.

Mass Romantic (2000)

This is probably the album I listen to the least, but by know means is it the worst. You can tell that the band has not really found it’s identity with this first release and kind of almost stumbles their way into power pop prowess.

Leading off with the swinging title track sung by Neko Case, the album is filled with upbeat songs that no one is quite sure what about. Filled with crunchy guitars, sweet harmonies, and plenty of synth to go around, the BC native hipsters found a new sound that does not resemble the bands from which they came.

Like all the albums, vocal duties are split up between AC Newman, Case, and Dan Bejar (that dumb guy that no one likes quite as much). It was rated #24 on the list of Greatest Indie Albums of All Time by Blender Magazine in 2007. Pretty good eh?

Favorite Tracks: “Mass Romantic”, “Slow Decent into Alcoholism”, and “The Mary Martin Show”.

Electric Version (2003)

Realizing that none of their solo projects were nearly as good as what they were doing together, they came back and made this. More of the same stylistically, but improving on every aspect. While “Mass Romantic” was a good first attempt, “Electric Version” really let everybody know that they had arrived. It even has the Rock Band song!

The one complaint is that this is the album that it seemed like Neko Case was getting less and less air time. I really wish I liked her solo stuff more, because she really thrives in this style of music. Newman’s great, Bejar less so, but Case is just the best. She doesn’t take part in songwriting as far as I know. Maybe Newman should just write all of her solo stuff. Yeah that would work!

So basically it’s a more perfected version of “Mass Romantic.” Sweet. Super sweet.

Favorite Tracks: “The New Face of Zero and One”, “From Blown Speakers”, “Miss Teen Wordpower”.

Twin Cinema (2005)

This is the first New Pornographer album I physically bought. I remember very vividly going to Best Buy and being like, “Yeah this is awesome.” I remember seeing the cover and being like, “Yeah this is awesome.” Then I listened to it and I was like, “Meh, this is pretty good.”

Definitely my least favorite of the the four, Twin Cinema built off the success of “Electric Version”, but unfortunately the songwriting just was not as strong. It is almost as if they tried to change their approach musically, but changed their mind half way through and tried to revert to their old ways.

It’s not as if it is a bad album, but it’s just not one I go out of my way to listen to. There are definitely some tracks that stand out like the title track and “Jackie, Dressed in Cobra’s”. Maybe I’m being too hard on it, but maybe not.

Favorite Tracks: “Twin Cinema”, “Jackie Dressed in Cobras”, and “Bones of an Idol”.

Challengers (2007)

This time they changed their approach musically, and it worked! I’d say the same energy is still present in their rocking ways, but there is definitely a different feel. The instrumentation is much more natural replacing the synthesizers with brass and strings.

Emotionally I think it is a much fuller album. Not necessarily lyrically, but again the feel makes it seem like they are not just out to have fun anymore. Unlike the first two albums where it made you feel like dancing and partying, this makes you want to stand up and fight for something that you are not quite sure what it is yet. All of this sounds strange, but it makes sense in my head. My favorite part in the whole album, maybe in their whole discography, comes in “Adventures in Solitude” when the violin does a beautiful transition into the bridge/chorus and Case takes over the vocals. One of my favorite melody’s ever right there.

I think this is going to be a tough act to follow, but I am glad they won back my fandom with “Challengers”.

Favorite Tracks: “My Rights Versus Yours”, “All The Things That Go To Make Heaven and Earth”, “Go Places”, and “Adventures in Solitude”.

So I guess Pre-Ordering an album on iTunes means that when you try to download it it does not work. So yeah. iTunes, give me my money back.

Retrospecticus: The Hold Steady

Seems kind of wierd to do two retrospecticuses in a row, but it’s been a while since we’ve had a music retrospective posted on this blog, like over a year. So let’s take a look back at the albums that have thus far been released by The Hold Steady, a band who really haven’t been around for that long, but have already built up a pretty impressive discography.

Almost Killed Me (2004)

After the disbanding of Minneapolis-based band Lifter Puller, lead singer Craig Finn and guitarist Tad Kubler moved to Brooklyn, NY. They decided to start a band, a band without any expectations of playing shows, or making records, or really being able to make any sort of living out of this band as both of them were already in their 30’s and working full-time jobs. This was the genesis for The Hold Steady’s first album, Almost Killed Me.

The album is about as raw and visceral of a take on classic rock as you could ask for as Kubler’s blistering guitar riffs are at the musical forefront of the album. This is all counterbalanced by Craig Finn’s hyper-literate lyrics featuring accounts of “killer parties”, dangerous drugs, and obscure rock n’ roll references, all delivered in a vocal style that’s probably closer to talking than singing. You can definitely see that the band wasn’t exactly thinking of the pop charts when they wrote these songs as they rely more on the clever one-liners and puns of Craig’s lyrics and the band’s raw energy rather than catchy melodies. But it’s this raw rock n’ roll aesthetic along with their booze-fueled lyrics that earned The Hold Steady the label of “world’s greatest bar band”.

Favorite Tracks: “The Swish”, “Most People Are DJs”, “Hostile, Mass.”

Separation Sunday (2005)

This was probably The Hold Steady album that took me the longest to really get into. I’m not really sure why, because it could very well be their finest hour. From the moment the album starts with the lone sound of Craig Finn’s voice you can tell that this is gonna be a “lyrics album”. Finn expands on the lyrical approach he established on The Hold Steady’s debut by turning out what is basically a loose concept album filled with a slew of recurring characters and Catholic overtones.

However, it’s not just the lyrics that help broaden the scope of The Hold Steady’s sound on Separation Sunday. Keyboardist Franz Nicolay joined the band prior to this album, and his work definitely adds some depth to The Hold Steady’s still very guitar-driven sound. I’m really quite amazed with the way this band can take everything you thought was dead about rock music and sound completely alive and exhilarating. I mean look at the song “Banging Camp”, it starts with a guitar riff that sounds like a riff you’ve heard a million times before, and by the end of the song they’re able to make that same riff sound like the most triumphant thing you’ve ever heard.

Favorite Tracks: “Your Little Hoodrat Friend”, “Banging Camp”, “How A Resurrection Really Feels”

Boys And Girls In America (2006)

And just a year after releasing Separation Sunday, The Hold Steady somehow managed to match that album’s greatness with Boys And Girls In America. The album starts with “Stuck Between Stations”, which is probably one of my favorite songs ever, and pretty much defines what this band is all about while displaying the more Springsteen-like approach seen on Boys And Girls In America.

You can definitely see why this was the album that started to bring more attention to this band, considering it’s probably the most accessible of their albums. At the forefront are lots big choruses and “whoah-oh” back-up vocals, while Craig Finn’s vocals are closer to singing than his signature brand of sing-speak. The Hold Steady certainly went for a more polished sound on this album, but they never sound like they’re selling out. With songs like “Chips Ahoy!” and “Massive Nights”, The Hold Steady manage to rock your socks off while they also pull off some great ballads like “First Night” and “Citrus”, and the rest of the songs find that sweet spot in between. If you didn’t check this album out after seeing it on my Top 10 of the decade, well maybe it’s time you rethink that foolish decision.

Favorite Tracks: “Stuck Between Stations”, “Chips Ahoy!”, “Party Pit”

Stay Positive (2008)

This was the album that made me a Hold Steady fan. However, as I explored the rest of their discography it slowly has become my least favorite of their albums, but it’s still chocked full of great material nonetheless. Songs like “Navy Sheets” and the album’s title track rock about as hard as anything this band has done so far, but what I really like about the album is the more reflective songs like “Lord, I’m Discouraged” and “Magazines”.

Craig Finn has said that his lyrics are not very personal, but I can’t help but feel like on Stay Positive he starts to tangle with his own ideas about getting older while still trying to create joyous rock n’ roll. Really the only thing that kind of bugs me about this album is its somewhat muddy-sounding production, but besides that there’s plenty of the great energetic anthems that The Hold Steady have are so good at banging out.

Favorite Tracks: “Sequestered In Memphis”, “Magazines”, “Slapped Actress”

Heaven Is Whenever

I’ve had the chance to listen to a few songs off The Hold Steady’s forthcoming album, with “The Weekenders” being my favorite track so far. From what I’ve heard, Heaven Is Whenever looks to be another example of The Hold Steady expanding on their sound while still keeping that same raunchy bar band feel. It’s been a while since I’ve actually gone to a record store and bought a CD on it’s release date, but I think I might do that for this newest release from The Hold Steady. In my eyes they’ve earned it.

Retrospecticus: The Dead Series

For 42 years George A. Romero has scared the bejeezus out of audiences with his army of the undead. From the groundbreaking Night of the Living Dead to his latest indie installment Survival of the Dead, he’s clearly established himself as the premier authority on zombie films. Combining dark humor with gore and underlying political commentary, no one can put em out like Romero and he’ll never be surpassed in the zombie genre.

In celebration of his latest release, currently on “On Demand” and to be released to limited theaters in May, I present you with a retrospective of his spooky series thus far.

Night of the Living Dead (1968)

: What can I say that I haven’t already about Night of the Living Dead? Were talking about the progenitor of the modern zombie genre as we know it. A group of people, held up in a farm house, fighting off the undead. So simple you wonder why it had never been done before. It may not be as impressive by today’s standards but you have to remember where this film was coming from. A fearless independent film with much to say about “American society, Cold War politics and domestic racism”. Those were the words of critics and moviegoers alike. It just goes to show you the impact it had as both a groundbreaking piece of intelligent indie filmmaking and as a classic horror flick.

Dawn of the Dead (1978)

: Years later when Romero was visiting the Monroeville Mall in Pennsylvania, he was inspired to use the setting and what better subject could occupy the mall than the walking dead? This would go on to be the highly successful 70s hit Dawn of the Dead one of my favorite horror films. Again pitting a a group of survivors (led by Kenan’s dad from Kenan and Kel) defending themselves from zombies, although this time in enormous surroundings. Dawn would prove to be a landmark in makeup effects (by Tom Savini) and the genre in general. Filling the script with hits at modern day consumerism and the excess of the seventies, this film goes deeper than your average gorefest and is a must see.

Day of the Dead (1985)

: Originally envisioned as Romero’s epic of Gone With the Wind proportions, Day of the Dead fell somewhat short of expectations but over time has cemented it’s status as a cult classic. Set in and around an underground military base in Fort Myers, Florida. Day of the Dead told the story of a group of scientists and soldiers trying to find a cure, or at least solution to the zombie pandemic. Romero describes this one as “A tragedy about how a lack of human communication causes chaos and collapse even in this small little pie slice of society”. Personally I’ve always thought it was the scariest installment and it’s definitely worth checking out for Tom Savini’s outstanding effects.

Land of the Dead (2005)

: Almost twenty years passed before production started on Romero’s fourth installment. Romero had worked on a script years back but it was until the new millennium that he’d realized how culturally relevant it had become. Land portrays a post-apocalyptic city torn into two halves. One is the luxurious yet immensely exclusive city “Fiddler’s Green” run by the selfish Paul Kaufman (Dennis Hopper.) While the other half of the population must live in the poverty stricken ghettos on the outskirts. Meanwhile we see the zombies as they start to evolve. Learning to use weapons and grasp simple concepts. All wrapped up it’s a witty and dark piece of action/horror and Romero’s first film to have some well known stars. Aside from Dennis Hopper, Simon Baker (from that show The Mentalist) stars as the hero and John Leguizamo is solid as a weapons clad street rat. It’s a surprisingly entertaining zombie movie that turned out to be both a critical and box office success.

Diary of the Dead (2008)

Easily the weakest of the series is the handheld melodrama that is Diary of the Dead. I already reviewed it once on this blog so I’ll keep this short. This installment follows a group of young filmmakers making a horror film when all of a sudden, you guessed it! Zombies start to appear and wreak havoc. This was basically Romero’s attempt to satirize the Youtube generation but it doesn’t feel like Romero is still in sync with younger audiences. His portrayal of young adults feels forced and unnatural. Not to mention the shaky cameras really don’t add much to the experience. It was kind of a neat idea but it just came off as cheesy and amateur, not god awful just disappointing.

Survival of the Dead (2010)

: After Diary I pretty much accepted that Romero was past his prime. I didn’t have much interest in another installment but being that Paul is such a super fan I knew I’d see this somehow. Miraculously, I liked it very much, probably even more than Land. What’s great about Survival of the Dead is it’s approach to create conflict out of characters we care about. Sure some of the folks here are a little over-the-top but it’s fun to watch and made even better by throwing in everybody’s favorite rotting corpses. Survival tells the story of two feuding families the O’Flynns (who want to exterminate all the zombies) and the Muldoons (who wants to cure the zombies) trying to get along, living on an island off the coast of Delaware. Bring a small group of survivors into the mix and things get messy. It’s a clever idea with some great entertainment, that’s really only brought down by the slight silliness of the two family heads (Patrick O’Flynn and Seamus Muldoon), both of which are for some reason Irish. All in all it’s a well made independent feature that’s a welcomed installment to the series.

How many more will Romero make? Who knows but I’m glad to see he still has zombie related stories that are worth telling. This is the kind of stuff I hope to see when AMC and Frank Darabont do their upcoming zombie series The Walking Dead due out next October. As long as they follow the Romero guidelines they’ll be sitting pretty.