New Movies and Box Office Predictions: Bruno, I Love You Beth Cooper
Friday, July 10, 2009
Blockbuster week eleven is here. It feels like we are nearing the end of the season as we only have one legitimate bockbuster contender in next week's Harry Potter release. This week features a vulgar expose on society as told through the eyes of a gay fashionista and a high school-centric comedy about a night that would never happen in reality. We will also get to continue tracking the success of the year's biggest blockbuster, Transformers: Revenge of the Fallen, it has crossed the triple century mark, how far will it go? Bruno. (2009, 88 minutes, R, comedy) Like the trailer says, Sacha Baron Cohen created a memorable and controversial character back in 2006. He is now returning to the big screen with a new creation, gay fashionista Bruno. He is back with another pseudo-reality film that sets out to expose the underbelly of society. Borat was hilarious and fascinating in how people would willfully give up such details about themselves, thus exposing them as something less than ideal. Will this succeed as well? Perhaps. I hope so. I also suspect it will be about as rewatchable as Borat. In other words, I do not expect it to play well past the initial viewing. Still, I am looking forward to checking it out.
I Love You, Beth Cooper. (2009, 96 minutes, PG-13, comedy) This looks mildly amusing, sort of like a throwback high school comedy. It centers on the class nerd who professes his love for the most popular girl in school. Much to his surprise, she shows up at his door and proceeds to show him the night of his life. I cannot say I have anything resembling high hopes for this, but the trailer made me laugh and it could prove to be a fun time. The movie stars Paul Rust as the nerd and Hayden Panettiere as the popular girl, they star for director Chris Columbus who worked from a script by Larry Doyle, who adapted his own novel.
Also opening this week, but not near me:
Blood, the Last Vampire
Mississippi Mermaid
Soul Power
Box Office Predictions Transformers: Revenge of the Fallen has taken its first two weekends. Is it possible the effects extravaganza has enough gas left to hold onto it for a third straight weekend? I think not, but you never now these days, what with the fickle audience always looking to latch on to the next big thing. I suspect that Bruno will rise up and take the top spot, everyone seems to love this guy and are interested in what antics he will kick up next. Despite the R rating, I am sure the theaters will be full. The rest if the list will just be shifted down a bit.
The latest WWE venture into the world of bog screen cinema is 12 Rounds, the second such film to star multiple time WWE wrestling champion John Cena. The first was The Marine. This might as well be the same film. Both films feature kidnapped girlfriends and Cena running roughshod in his attempts to rescue the damsel in distress. There is nothing particularly special about either film, and it was pretty safe to skip them during their respective theatrical runs. I mean, it is not like you are in danger of missing a potential Oscar nominee. Of course, I have seen both in the theater, and enjoyed both to a certain extent. 12 Rounds plays out like a mash up of Speed and Die Hard with a Vengeance. It seriously feels just like the Die Hard sequel. You have a bad guy with a plan and a the intelligence to pull it off, giving the hero orders, telling him what to do or something bad will happen. What follows is the hero's mad dash through the streets to prevent that bad thing from happening. Will he succeed? I guess he would have to, otherwise this low-aiming film will be a serious disappointment.
John Cena stars as Danny Fisher, an officer for the New Orleans Police Department. One night, while on patrol with his partner, he is called into a pursuit to aid the FBI as they chase down an international fugitive arms dealer Miles Jackson, played by Aidan Gillen. The chase results in Danny being the hero, with the bad guy in custody. The only problem is that the chase resulted in the death of of the bad guy's girlfriend, and he has a long memory.
We jump forward a year, Danny is now a detective and living with his girlfriend (Ashley Scott) in a house that is in need of a lot of work. However, that is not the story. The story is that Miles has escaped from prison and has his eyes set on Danny, revenge is on his mind. To that end, Miles kidnaps Danny's girl and sets up a series of tests, twelve rounds of them (clever, no?). Miles calls Danny, tells him what needs to be done, what the consequences are, and how long he has to complete the task. Danny then takes this information and acts upon it accordingly.
While the action is fast and furious, there is never any real sense of danger as we move through the various rounds. Why? Well, there are twelve of them, why should we get all tense in the early rounds? It has to be assumed that we are going to make it all the way to the twelfth, otherwise the title will make no sense. Plus, this is clearly meant to be a crowd pleaser, so the hero is going to have to come out on top. With this information being a given, there isn't much of a reason to watch the movie, right? Correct, but I still think it is worth taking a look at, of only under the proper circumstances.
What are those circumstances? Late night cable or a rental for a slow night. The movie brings to mind action films of the 1980s with the big muscle bound hero taking on the bad guy through brute force. It is corny, cheesy, not terribly well acted or directed, and the screenplay offers no depth at all. It does not rise to the level the best of that era had to offer, but it is entertaining enough to hold your attention for a couple of hours. If you come across it and enjoy goofy action films, this will be right up your alley. On that level it is sort of fun.
Renny Harlin is the man behind the camera and has had a career filled with this sort of movie. Just look at Die Hard 2: Die Harder, The Long Kiss Goodnight, Cliffhanger, Driven, Mindhunters, the list goes on. This movie fits right in with that line up.
John Cena is a decent enough action star. He has a certain screen charisma and natural ability, but they would need someone with more skills than Harlin to focus them into. Still, he is likable and does a good job of focusing the audience's attention for this movie.
This disk is labeled as an "Extreme Edition" and the featured cut runs about two minutes longer, although I am hard pressed to tell you what was different. Nothing really stood out to me as different from the theatrical.
Audio/Video. The video, presented in its original aspect ratio of 2.39:1, generally looks pretty good. There is a fair amount of film grain present, particularly in the night sequences. Despite this, there is still a good level of detail. Fast action is smooth and the explosions look pretty solid. It is a not the best looking Blu-ray I have seen, but it is definitely a step up from DVD!
The audio is rock solid. Listen to the roar of the Camaro during round 3, also of note is the trolley sequence, and the elevator fall. The explosions and engine roars have real substance, while everything else is always nice and clear. Not quite reference material, but definitely solid.
Extras. This release comes with a few bonus materials to check out.
Commentary. This track features Renny Harlin and judging by what he says, you would think they are making the greatest action film ever. Still, he is proud of his work and everyone should be, otherwise why do it? He does offer up plenty of interesting information about the shoot and is worth a peek by the curious.
Streetcar Crossing: Film with Caution. This covers the shooting of the trolley sequence. It is a big action scene and this shows the amount of work that went into making the scene work, not to mention the logistics with shutting down New Orleans' mains roadway.
A Crash Course: John Cena Stunts. This takes a look a the stunts of the film and the training that John Cena went through to make them work.
Never Before Cena Gag Reel. Pretty much what you would expect flubbed lines and goofy behind the scenes bits.
Keeping Score: The Music of 12 Rounds. This is pretty cool. Being a fan of film scores, it is interesting to see this part of the process. Trevor Rabin is the film's composer and the music is actually pretty good.
Round and Round with Renny and John. Funny, they comment on the similarities between Cena and Matt Damon. This featurette is comprised of interview footage with both Cena and Harlin on and around the set. It is pretty funny, especially Cena's impression of Renny.
Bonus Rounds. A series of shorter featurettes covering topics such as development of the concept, weapons training, the cars, and more.
Alternate Endings. There are a couple of different endings. One features another guy on the roof after getting out of the pool, the other has a longer conversation with the couple in the hot tub. Nothing special or terribly different.
Viral Videos. The movie has a couple viral videos. One centers on the size of Cena's hands and the need for a hand model, it is actually pretty funny. The other concerns the helicopter and an unfortunate explosion.
Bottomline. Not a great movie, not by a long shot, but still has its moments and on a B-level is actually decent. You can poke holes in the plot, mock the script, guffaw at the performances, and not be bored for a couple of hours. It also has a decent selection of extras that are worth checking out. Rent it, watch it on cable, it works as a time waster.
Way back in 1990 I was still in the throes of the "hair metal" era. I was only a few years along my path of musical discovery and years away from any true progression. Grunge was still a few years off and I had a rather narrow of what I liked in music. Rap? Forget it. Metal? Too heavy. Country? What a joke. That left me at the doorstep of bands like Def Leppard, Poison, Warrant, Skid Row, and Winger (yes, you read that right). No, there is nothing wrong with liking them and I am not here to defend my stance. What this is leading to is my first exposure to a guitarist names Bill Leverty. I first encountered him with a catchy hair metal riff in a song called "Don't Treat Me Bad" as a member of the band Firehouse. That song got under my skin, and while I cannot say it is a great song (I am sure event he band would agree), but it is one I liked enough to buy the cassingle of (remember those?). I would play it ad nauseum for a day or two before giving it a rest. The guitar riff was infectious, the solo was solid, and the nasal, slightly whiny vocals of CJ Snare offered something different from the other bands out there. As much as I enjoyed their self-titled debut album, I quickly forgot about them and many other bands of the era as the grunge era stepped in followed by my taste expansion that has gone out in all directions over the past decade or so.
With all that said, it came as a surprise when I saw this new release from Firehouse's guitarist Bill Leverty. It is a solo album that shows a distinctly different side. The music is not of the big arena rock variety, nor is it the shredding solo release that some players are want to do to show they are more than they may seem to be in the band. Well, that last bit is partially accurate for Deep South. It is most definitely not a shredder album, you will have to look elsewhere for that; however, this album, that strikes me as a deeply personal one, is one that shows a different side of the Firehouse axe-man and definitely shows a different side of his skills and ability. Much like it took me more than a decade into my music listening life to truly find what music I loved, it has taken nearly two decades for Bill Leverty to record an album that shows him outside of Firehouse.
Deep South is a collection of ten songs culled from the Southern United States and were primarily written in the late 1800s and early 1900s. Some of them have been rocked up a bit, but they still retain a traditional air to them. The songs and their performances bring to mind the likes of ZZ Top and the Allman Brothers. Leverty performs all of the instruments (save a couple tracks featuring female vocals, which were performed by Kristina Leverty and harmonica on "Man of Constant Sorrow"). In addition to electric guitar, a number of different instruments including dobro, guitarele (a combination guitar/ukelele), mandolin, lap steel guitar, and banjo. The result is an album that has a familiar, yet unique experience.
This is a solid collection that is hard not to groove to. It has an easy going flow as we work through songs that sound fresh despite having been written more than a century ago. Production value is strong as the variety of instruments are all clear and discernible throughout the mix while the vocals are never hard to hear.
As I listen to the album, it is hard to pull out single songs to highlight as everything is uniformly solid. Each song bringing a slightly different feel to the table while as they all represent a common source. If push came to shove, I would have to recommend "Run On" which has a smooth flow and a serious nature, along with the rocked up "Samson and Delilah," then there is "Walk Beside Me" with its inviting acoustic guitar, not to be left out is "Wade in the Water" which has a very old school/new school feel with its traditional chorus combined with the electrified verse.
Now, I would remiss if I did not mention "Man of Constant Sorrow," the one song I was familiar with prior to this album. How did I know this song? That's easy, I am a big fan of the Coen Brothers' O, Brother Where Art Thou?, where the song played something of an important role. This is a different arrangement, a bit more modern sounding while still being instantly recognizable and insanely catchy.
As I mentioned earlier, this seems like a very personal album. The liner notes talk about the album's artwork, created by his grandfather. He also speaks of his grandfather's love for the South ad how he meticulously crafted these wood carvings and transferred them to paper. He also writes about wanting to bring awareness to the music of this region and era. Bill Leverty's love for the material and the obvious inspiration of his grandfather is something to be admired, his care in those areas translated to a high quality album that puts focus on the old material just as it does the talent of the performer.
Manipulative? Check. Melodramatic? Check. Emotionally suspect? Check. Characters you want to comfort? Check. Characters you want to strangle? Check. Surprisingly effective? Check and check. My Sister's Keeper is one of those movies that should probably not have been on the big screen. The movie feels like something that should be on The Hallmark network or some other similar station. It is that sort of emotionally manipulative, tear jerker that under most circumstances should not be allowed on the big screen. So, the question is why was this one allowed to pass? It is a question I do not have an answer to. Although it may be humorous to note that had it appeared on a cable network there is a good chance (almost 100%) that I would have passed on it, so, in a way, it is probably a good thing that it appeared on the big screen.
I was initially attracted to the movie by the genetically engineered child part of the story. It brought to mind films like The Island and Clonus: The Parts Horror. It is an interesting topic, and one that is touched upon here, if not completely examined. Think about what it would be like if you could create a backup person from whom you could harvest needed parts, organs, blood, etc. It is a really creepy idea. Is this backup a real person? Do they have the same rights as natural born citizens? If you could genetically engineer a child, would the concept of a "mistake" pregnancy become a thing of the past? Would a market develop for designer children? Perhaps even laws determining certain traits. This brings up thoughts of the movie Gattaca.
These are the sorts of things that went through my mind as I watched My Sister's Keeper. I am fascinated by the increasingly subtle ways in which traditional "chick flicks" and traditionally male-centric genres are being brought together. Just look at The Lake House with its science fiction conceit, or the upcoming The Time Traveler's Wife with its time travel concept, add My Sister's Keeper to the mix and it becomes an interesting trend.
Now, as for this film. It is one that definitely puts a strain on the water works, no matter how strong your willpower is. This story gets under your skin and makes you care regardless of your convictions, it is terribly manipulative in that respect.
The center of the story is Kate Fitzgerald (Sofia Vassilieva). As a young child she developed a rare form of Leukemia. It, essentially, signed her death warrant. It is a disease that cannot be cured, cannot be beaten, and the young girl is destined to die. Her mother, Sara (Cameron Diaz) refuses to give up and fights incessantly to save her daughter. Sara and her husband, Brian (Jason Patric), decide to follow an ethically questionable path whereby they genetically engineer another child to be a match to Kate, who, they could use for needed transfusions and other medical procedures. That new child becomes Anna (Abigail Breslin) and the story picks up steam as Anna decides she is tired of being used for parts and wants a say in how her body is used.
The movie brings us in at this pivotal moment in the life cycle of this family. Kate is getting sicker, Anna no longer wishes to be used for her parts, Sara is becoming increasingly cut off from reality as she is blinded by the thought of saving her daughter, meanwhile Brian and forgotten son Jesse attempt to process the changes that are swirling around them.
This is a family in an active state of disarray. The Fitzgerald's are falling apart, eaten away from the inside just like Kate and her cancer. This movie gives us a ringside seat to a family's implosion. At first it is easy to site there and watch as they get mad at each and come together again in waves. You even find yourself siding with Anna as she takes on her family, while still being an important part of it. However, before very long, you begin to feel as if you are part of the family. It then becomes difficult, perhaps even impossible to divorce yourself from the deep feelings and emotions that bubble up to the surface.
The film was directed and co-written by Nick Cassavetes who does a fine job of keeping the story moving, never giving you a moment to catch your breathe, easily dragging you through the full range of emotions generated by the family. Cassavetes collaborated with Jeremy Leven to adapt Jodi Picoult's novel, and does a fine job of telling the story, although I would have liked a little more on the genetically engineered child/said child sues family for medical emancipation front. Fortunately, there is enough to tickle the mind with implications while focusing on the strong emotional quotient inherent to the subject.
Bottomline. Is it a great film? No, not by a long shot. However, it is the rare film whose success is based on its ability to manipulate the audience that succeeds and actually has a sense of realism, and that may be a reason to celebrate it just a little.
Box Office Update 7/3-7/5: Revenge of the Fallen Reigns Supreme
Last week Transformers: Revenge of the Fallen demolished the competition on its rise to the top of the chart. Now in its second week of release, it is nearing the $300 million mark and will likely finish at the top of the year's box office chart. Week number two also sees the special effects extravaganza retain its place at the top of the chart, albeit by a considerably slimmer margin than during its debut. The one thing to remember, box office success does not equal quality. While the effects and action are jaw dropping, the overall movie is a bomb as the story goes nowhere, the script is terrible, and the performances worse. There are much better choices scattered throughout the list. And yes, I realize I am part of the problem having offered my pennies to Michael Bay's coffer. Coming a very close second is the latest family-centric animated feature. Ice Age: Dawn of the Dinosaurs had a smaller than I expected take over the weekend. I thought for sure this would win the weekend, I guess I was wrong. You want to know why it didn't win? I haven't seen it yet. I kid, I kid. I liked the first one, but thought the sequel was pretty bad. I have to wonder if this is a step up or further proof that the franchise over stayed its welcome? I will find out for myself soon enough.
In third place is Michael Mann's latest, Public Enemies. I have been looking forward to this ever since I first saw the trailer. Starring Johnny Depp, Christian Bale, and Marion Cotillard, this is the story of John Dillinger, his high. lows, and everything in between. This film I have seen and it is quite marvelous. It is not exactly what I was expecting, but it is a sight to behold. It is a movie that tells its story on its own terms, not necessarily giving us what we want, but just what we need to know. It is the basis of the legend without the legend. You fill in the blanks.
The Proposal and The Hangover continue to show strong legs as they draw in the crowds and suffer only minimal percentage dips. The former does not really deserve it, but is still entertaining, while the latter is one of the funniest films of the year and is well deserving of the attention.
In the latter half of the list there is not much to comment on as the movies continue to slide down the list. The only thing of any real note is that Star Trek has finally descended and dropped off the top ten. It is still the most successful of the franchise and I am happy for its success, but it is also sad to see the inevitable happen.
Next week's freshman class will see the arrival of Sacha Baron Cohen's latest creation, Bruno. We will also get to see the Hayden Panettiere comedy I Love You, Beth Cooper.
Two movies dropped off the top ten this week: Star Trek (11) and Away We Go (12).
This Week
Last Week
Title
Wknd Gross
Overall
Week in release
1
1
Transformers: Revenge of the Fallen
$42,320,877
$293,355,885
2
2
N
Ice Age: Dawn of the Dinosaurs
$41,690,382
$66,732,868
1
3
N
Public Enemies
$25,271,675
$40,141,080
1
4
2
The Proposal
$12,857,482
$94,335,111
3
5
3
The Hangover
$11,268,413
$205,038,233
5
6
4
Up
$6,521,389
$264,816,694
6
7
5
My Sister's Keeper
$5,788,327
$26,518,582
2
8
7
The Taking of Pelham 1 2 3
$2,534,228
$58,508,070
4
9
6
Year One
$2,323,843
$38,304,392
3
10
9
Night at the Museum: Battle of the Smithsonian
$2,043,288
$167,706,959
7
Box Office Predictions Recap What a completely mediocre week for predictions by yours truly. My placings were decent, while my box office predictions were all over the map. I started with guesses that are way too high, while my numbers at the bottom were pretty darn close. Actually, this feels like a typical week for me. One day I will figure out some consistency for this. I can't believe how low the grosses were next to my predictions.
Welcome back! Well, to some of you, anyway. To the rest of you, glad you decided to stop by and I hope this humble column helps you navigate the stacks of new releases each week. My goal is to point you toward titles of interest and warn you away from those films that seek to do nothing but leech away your time and give you nothing in return.
Full disclosure: I have not seen many of these titles, and what follows are not necessarily reviews, but opinions based upon what I know of the titles I pluck from the new release lists I peruse. The opinions I give based on the new releases are my own, and my recommendations are based on my personal interest. In any case, I hope you enjoy and perhaps find something you like or a title to point me towards. Knowing (also Blu-ray). As Knowing unfolded before me, I was drawn deeper and deeper into the tale. This is a movie that will keep you on the edge of your seat. There is a delicious slow burn quality permeating each frame. You are only given what you need to know, and even then it is barely enough. Knowing forces you to engage, to become involved, but it does so in such a way that you may not even be aware of it at first. The film centers on a series of numbers that seem to predict disasters, it is up to Nicolas Cage to figure out what the meaning behind them is. I know that sounds simple, but believe me, there is more than meets the eye when it comes to Knowing.
Push (also Blu-ray). This is a good movie. The action is well executed, and the film delivers, mostly, on its promise of a new world. It is not nearly as visionary as the advertising would want you to believe, but it has enough substance and verve to sustain it and probably a couple more films. Try it, you may be surprised. Push creates a world where people are born with all sorts of different abilities. All of these abilities appear to be the result of genetic experiments by the Nazis, with the goal of enhancing and weaponizing these abilities. When the war ended, the experiments continued, but were broken up into government run operations called Division. They would track and capture anyone found with an ability that that showed promise for further experiments. Sounds exciting, no? It has a little too much story for its own good, but it is certainly compelling.
Iron Maiden: Flight 666 (Blu-ray). This DVD was released about a month ago, with Best Buy getting the Blu-ray exclusively during this time. This covers the first leg of the band's massive world tour that focused exclusively (almost) on the music of the 1980's. This is a documentary as well as a concert release, with the concert comprising footage from each of the stops. I got to see this tour once on each leg, first in New Jersey at the IZOD Center and then again at Madison Square Garden.
Peanuts: 1960's Collection. This looks like a good collection of classic cartoons. This set includes A Charlie Brown Christmas, Charlie Brown's All-Stars, It's the Great Pumpkin, You're in Love, He's Your Dog, It Was a Short Summer.
Night Train: (also Blu-ray). This mystery/thriller is sort of like Hitchcock put through a modern filter. The finished film is a compelling one, but certainly not up to the Master's best. It stars Danny Glover, Steve Zahn, and Leelee Sobieski as a trio who come face to face with something that could change their lives forever, but at what cost?
The Unborn (also Blu-ray). I wanted to like this movie. The trailer suggests a film that would have genuine scares and a plot that offers actual menace. The final film looks fine, but the tale is not all that interesting, and borderline nonsensical. The Unborn is a ghost story that feels like a remake of a Japanese horror film with a little bit of The Exorcist thrown in. Like so many J-horror adaptations, it does not work. There are some fundamental differences between J-horror and American horror making translations a tricky proposition at best, but when you start aping the remake style in an original film you do nothing but add another layer of complexity that is not needed. In this one, a girl is haunted by a creepy little boy who wishes her harm. To tell more would needlessly confuse.
Kath & Kim: Season One. Hopefully this series is a one and done type of show. This sitcom is laughless, grating, and annoying. Why anyone thought this was funny, or a suitable replacement for Scrubs, I will never know. Now, here is is on DVD, complete with Molly Shannon and Selma Blair and their self-involved attitudes. If you like this drivel, I wish you the best.
Grave of the Fireflies. This is an anime film that could just as easily be made live-action. It is based on a true story of survival during WWII. It is a powerful moving story that will most undoubtedly move you to tears. It is one of the most affecting stories I have ever seen. It has been unavailable for some time, but is now back on shelves.
Evil Bong 2: King Bong. From the deadly serious, to the decidedly not so serious. This is the latest release from Full Moon Pictures, and how can you go wrong with a title like that? I have not seen the first, although I am not sure it is necessary. What else do you need to know? I think the title pretty much says it all.
Not to be confused with the 2005 Aussie western The Proposition (which I did for some reason, I know, silly me), this 2009 romantic comedy, The Proposal, is a completely different beast. For one thing, this movie stars Sandra Bullock and Ryan Reynolds instead of Guy Pearce and Ray Winstone, for another you have the director of 27 Dresses instead of the director of the director of the oft-delayed The Road. So, it is safe to say the movies have no real connection, and I am glad, could you imagine Ray Winstone as a romantic lead? Me neither. Of course, I could also not imagine Reynolds and Bullock as the leads in a western, at least not a serious one. The romantic comedy has been a staple of the cinema for as long as I can remember. Anyone who is anyone knows that any romantic situation worth its salt is also ripe for comedy. So, this genre has got to be considered one of the most familiar to anyone who enjoys the cinema. Because of this familiarity, pretty much every situation has been used over and over and over again, making anyone who works within the genre will either need to work very hard to make their take stand out, do a very good job of using the cliches to their advantage, or be prepared to be ignored. How does The Proposal fare? Not too bad.
The Proposal is not the sort of film that is going to push boundaries, so do not expect this movie to blow you away. That said, it does all the right things and proves itself worthy of your time by taking your standard romantic comedy formula and keeping your attention even though it is pretty easy to guess where the story is going.
Let's set the stage. Ryan Reynolds is Andrew Paxton, an aspiring book editor currently working as executive assistant to one of the most demanding and fear-inducing editors in the business. Sandra Bullock is Margaret Tate, the hard nosed chief editor whose mere approach is enough to send the entire office into a frenzy of activity to ensure they are not noticed. She also happens to be editor for whom Andrew works for. Trouble begins when Margaret is called to her boss's office, where she learns she is to be deported for an expired work visa to her Canadian home. This cannot be, how will she be able to keep her nose to the grindstone if she isn't in the office and doesn't have her job? The solution looks to be a simple one, a sham marriage to her assistant, followed by a quickie divorce.
Caught off guard, Andrew is not quite sure how to respond, but decides to go along with the plan. Their troubles are further complicated by an INS officer intent on uncovering their deception. On top of that, the upcoming weekend brings with it a trip to visit Andrew's family and celebrate his Grammy's 90th birthday. This leads to all sorts of wacky fun as they attempt to deceive the family and avoid getting caught while also coming face to face with a new world of feelings they never saw before.
In the wrong hands, this story could definitely turned into a slog in the wrong hands. Fortunately, the team behind The Proposal now how to turn a line, and make a flat tale into something worth your while. Still, it is not a great movie, so keep your hopes in check.
What is it that makes it work at all? In the case of this movie, it is all about the cast. Ryan Reynolds and Sandra Bullock both bring charismatic, likable presences to the screen. They have a way of drawing your attention, and they have a way of bringing just the right tone to a performance, especially in this particular genre.
The screenplay, the first from Peter Chiarelli, has some pretty snappy dialogue, particularly for Ryan Reynolds whose sarcastic approach works wonders for the picture. Likewise, Bullock does a fine job of appearing imposing at work only to have her shell cracked when faced with the family she never had.
While the centerpiece of the story is the faux-engagement, there are moments that lurk around the edges that help round the film out and actually make the movie better than it probably deserves to be. There are the big, broad moments that make everyone laugh, such as the wet and naked encounter, the strip show, and the goofy dance in the woods, and they work just fine. These are the scenes that get people in the door and ensure they have not yet fallen asleep.
There are two threads which threaten the lighthearted base, one for each of the leads. With Reynolds' Andrew we learn of tensions between father and son. The disagreement is never right out in the open and is dealt with a nice subtlety that plays well of of the comedic segments. The interaction between Ryan Reynolds and Craig T. Nelson as his father works very well and comes off as genuine. As for Bullock, we watch her interact with Betty White's Grammy and Mary Steenburgen as Andrew's mother. This brings feelings of her past to light, having lost her family at an early age she never had a family. Sandra Bullock plays this well as we see Margaret begin to show some cracks in her tough exterior.
Bottomline. Overall, this is a delightful trifle of a movie that will quickly be forgotten a short way down the road. It will provide momentary escape with stars that we like and scenes that will make you laugh. It has a few moments that threaten deep thoughts, but they are fleeting. I find the movie hard not to like, while also recognizing how easily forgettable it is.
CD Review: Transformers - Revenge of the Fallen the Score - Composed by Steve Jablonsky
Sunday, July 05, 2009
In 2007 Michael Bay brought the 1980's series Transformers to the big screen in vivid, metal crunching fashion. The story was somewhat lacking, there was stupid comedy, and some bad acting, but it was still an exciting film. One of the positive things I took away from the film was the score by Steve Jablonsky. It was big, bombastic, and sounded very good. I remember checking store shelves for it and did not find it, I checked online and did not find it. What's the deal? It is a big release, it should have a score album, right? It turns out there were no initial plans and it took an online position to show the powers-that-be that a market did exist. It came out in the Fall of that year, and it turned out to be a great album. Fortunately, with the release of the second film, they chose not to wait four months to release it. The question is now whether or not it is any good. The score, was composed by Steve Jablonsky and marks the third direct collaboration between Jablonsky and Michael Bay, beginning with The Island. He has also developed a relationship with Bay's production company, Platinum Dunes, having scored the remakes of The Texas Chainsaw Massacre (and its prequel), Amityville Horror, The Hitcher,and Friday the 13th. I have not heard those separately, but do not recall the scores as standing out that much, unlike his Transformers work, not to mention The Island. Jablonsky definitely knows how to step up for the big effects films and deliver the goods in the form of eminently listenable scores that work well even apart from their films.
This new score is not quite as strong as the original, but I think that would have been a tall order under any set of circumstances. That is not to say it doesn't deliver, it does, I just get the feeling that the original themes could have been used to stronger effect, as I only really noticed the Autobots theme used. That is not to say the new material is bad, just not quite as I had hoped.
We open in similar fashion to the first score, in heroic fashion. The first cue is called "Prime" and it is a slow burn sort of track that brings us back into the Autobot fold and prepares us for the return of the transforming heroes. It is followed by a weaker cue in "Einstein Was Wrong," which brings Sam Witiwicky into the story as he has his mental meltdown brought on by a shard from the All Spark left over from the first movie.
Track three features the collaboration of Jablonsky and Linkin Park on an instrumental version of "New Divide" (featured on the soundtrack album). This version is called "Nest" and it is a strong techno/rock/industrial cue that is big and heroic and fits the film nicely, and plays better than the original version. This is a cue I would have liked to have heard a little bit more of throughout.
Next up is "The Shard," this piece brings in a little darkness and, dare I say, tension to the mix. It then moves from darkness and tension straight into evil with "The Fallen," which is used to introduce us to this franchises version of Star Wars' Emperor. It is a slow cue that will definitely give you pause.
The flow continues as we move from tension, to evil, and now onto the epic. "Infinite White" with it' synth, strings, and soaring female vocals it is simultaneously soothing and foreboding. We need not wait long to discover what the bad guys have in store as we slip from the soothing into another cue dripping with dread in "Heed Our Warning" and leads into a very dark mid-section that runs through "The Fallen's Arrival" and "Tomb of the Primes."
The action ratchets up as we hit "Forest Battle." This plays with one of the bigger action pieces of the film and leads into a more upbeat and hopeful tone, with its use of the Autobots theme from the first film. It also brings us closer to the cue of hope that is "Matrix of Leadership."
Everything builds up the action packed finale "I Rise, You Fall." this plays with the Egypt battle and plays off the earlier evil as we get the heroic Autobot theme reigning triumphant.
Overall, this is a very good score that fans will want to have in their collection. Granted, I am still more likely to reach for the original (same goes for the movies), but there is no denying that the score is one of the high points of the movie and Steve Jablonsky continues to impress with his big movie scores.
As good as it is, it does seem to run short. We get 44-minutes of score from a movie that is nearly 2.5-hours long. There have to be missing cues here. It is the reverse situation of the soundtrack release, which had songs that were not in the film, in this case I suspect we are missing chunks of music that may have helped smooth this out, as it does jump around a bit.
Bottomline. You will not be disappointed. Of the two music releases for this film, this is definitely the one to get. This is a big score that bears no pretense of subtlety, it is exactly what you want from a score for a film whose stars are giant alien roots.
CD Review: Transformers - Revenge of the Fallen the Album
Unless you've been living under a rock, you know that the first sequel to the box office juggernaut Transformers has just been released. In its first five days of release, it has taken in a massive $200 million. Hard to believe, isn't it? Well, the suits-that-be knew they had a behemoth on their hands and decided that they needed a collection of tunes from hot bands to bundle together and sell to the teens who have just been stunned into an awestruck state. They won't know what they're buying until it is too late, by then the money will be out of the kids' hands and into the suits' pockets, leaving the teens with a mediocre collection of mid-tempo tunes. It is a shame to, it sometimes feels like the art of the soundtrack is dying and is treated properly by very few. That's right, Transformers: Revenge of the Fallen the Album is very middling in content with very little variety. All of the songs have a similar sound and a similar pace, right down the middle. The focus seems to be on trying to learn towards some sort of faux emotional impact with the likes of Theory of a Deadman, Green Day, and Cavo. I wonder if they thought the inclusion of these tunes would make up for the soulless script? You know, step in and create an emotional center where none is to be found. Too bad this collection's center does not have much of a center either.
Another odd thing about this soundtrack is that five of the songs are not even in the movie. Why have them at all? The only thing I can guess is they did not have enough songs in the album to fill out the release, so they went and got a few more like-sounding cuts. This is far from the first time I have seen this, and it never fails to puzzle me. A few will get artists to contribute new tunes and use the "Inspired by" tag, but that is not the case here.
As I listen to the album, it becomes abundantly clear that I am not the target audience for the release (you could probably tell that already). It is not that I have anything against any of these bands, it is more the bland way the soundtrack is put together, the lack of any real variation in the sound, and the way it is constructed around a couple hot bands.
None of the songs really stand out from the crowd. It is similar to listening to Top 40 radio, everything plays towards the middle, nothing jumping out and grabbing your attention (no wonder I avoid the radio).
It may seem like I am being overly harsh on the album, and that may be a little bit true as some of my distaste for the film is spilling over onto a new target. I do not mean to be. When it comes right down to it, this is a soundtrack where the sum is considerably less than the sum of its parts. There are a couple of decent songs on here, nothing mind blowing, but still songs that are worth a listen.
The disk opens with the movie's signature song, "New Divide" by Linkin Park. I am not the biggest fan of them, but this song strikes the right chord for the movie with its heroic sounding flow. This song also appears on the score album, integrated into one of Steve Jablonsky's cues. It is followed by Green Day's "21 Guns," a tune that just grates on me. It sounds like they are trying to be Weezer and failing. Cavo provides track three, and it is not a terribly good song, but the vocals are pretty good and strike me as one of the more genuine performances on the album.
Surprisingly, Nickelback delivers one of the more satisfying songs here. I say surprising because I do not think they are a particularly good band. The song is "Burn it to the Ground" and it is the only one that really attempts to inject some fire into the soundtrack. It has a surprisingly heavy (relatively speaking, of course) rhythm that is easy to groove to. It is followed by one of my favorite moments, The Used's take on The Talking Heads "Burning Down the House." Of course, I think it helps that I have always liked that song. This version gives it an industrialized spin that fits it nicely.
The latter portion does not provide much excitement as we move into the "*Not in Film" tracks, with the highlight being a song that is already two years old in Avenged Sevenfold's "Almost Easy."
Of course, I would be remiss if I did not mention the most Transformers -centric song here, Cheap Trick's new theme song. It is corny, silly, and fully in line with the 80's cartoon. I have to give it to these guys for putting it all out there with this one.
Bottomline. This isn't anything you should feel the need to run out for, but it could have been worse. If you are a fan of any of these bands and don't have these songs anywhere else, go ahead and give it a shot, otherwise feel free to take a pass. Not terrible, just a little to the lackluster side of the coin.
Not Recommended.
Track list: (*Not in Film) 1. Linkin Park- New Divide 2. Green Day- 21 Guns 3. Cavo- Let It Go 4. Taking Back Sunday- Capital M-E 5. The Fray- Never Say Never 6. Nickelback- Burn it to the Ground 7. The Used- Burning Down The House 8. Theory of a Deadman- Not Meant To Be* 9. The All-American Rejects- Real World* 10. Hoobastank- I don't think I Love You* 11. Staind- This Is It 12. Avenged Sevenfold- Almost Easy* 13. Cheap Trick- Transformers Theme*
New Movies and Box Office Predictions: Ice Age - Dawn of the Dinosaurs, Public Enemies
Thursday, July 02, 2009
Week ten of blockbuster season takes us into the Fourth of July holiday, where there is much money to be made as families gather and head out to the darkened cinemas before firing up the grills, cracking open the beer, and getting burned with firecrackers. The weekend features two new movies in wide release, a family animated comedy/adventure and a period gangster film. Two films and two vastly different audiences. I have intentions of catching both at some point in the near future. And yes, I know the films already opened, I completely forgot about the Wednesday openings! Ice Age: Dawn of the Dinosaurs. (2009, 94 minutes, PG, animated) The latest animated feature to take advantage of the new 3D process. I must admit to being very impressed with the quality of the 3D, as well as the positive signal to noise ratio in film makers using it effectively and not just as a gimmick. The gimmick is there, but it is still in the background. I wonder how this one will be? Perhaps it will be enough to distract me from a potentially bad movie. I liked the first movie, but the second, well, not so much. This outing sees Manny trapped in an underground world where they meet dinosaurs, Sid steals dino-eggs, Scrat meets Scratte, and is Diego too laid back? I cannot say any of the descriptions sound all that exciting. So long as the Scrat segments are good I am sure to find something to like. The voice cast have all returned from the last movie, including Ray Romano, Denis Leary, John Leguizamo, and Queen Latifah. Joining the stars in the supporting cast are Bill Hader, Simon Pegg, Jane Lynch, Seann William Scott, and Kristen Wiig.
Public Enemies. (2009, 143 minutes, R, drama) I have high hopes for this movie. Michael Mann knows how to craft a living breathing film (even Miami Vice). Take Mann's skills with the camera and bring in the talent of Johnny Depp and Christian Bale and it looks like a recipe for success. Of course, he last time I saw Bale, he was shouting at everything, all the time, and not very well. I suspect that was a fluke and he will be on point for this outing. The movie takes us back to the days when gangsters were national heroes and no one could stop them. Depp is John Dillinger, perhaps the greatest of them all. On his trail is Bale as Melvin Purvis, an agent of the FBI. Who will win? My knowledge of the reality of these men is pretty much non-existent. I do not expect this to be true to the hard reality, but I expect it to be honest with itself and entertaining in execution. I love the trailer and the music used, hopefully it will pay off.
Also opening this week, but not near me:
I Hate Valentine's Day - do we really need another Nia Vardalos movie already
Box Office Predictions Transformers: Revenge of the Fallen won last weekend, will it have the legs to take a second? I am not sure. I do expect to see a steep percentage drop, it is impossible to open that big and not suffer a precipitous drop, how many people of the originals will be rushing out to see it again so soon? Probably not many, so the pool will be made up by those who chose to avoid opening weekend crowds, but then those numbers could be tempered by those celebrating Independence Day with their families, although holidays generally make good times to go see a movie as a family. The possibilities make my head hurt. I suspect the battle will be between the juggernaut sequel and the upstart animated sequel. Ultimately, it will be Scrat and the Ice Age gang taking the crown. Dillinger will have to settle for third.
When Clawfinger's 2007 release, Life Will Kill You, arrived on my doorstep some time ago I was intrigued by its simplistic, yet clever, cover. Designed to look like a parental advisory label, only instead of a warning, you get the band name and album title. It isn't a warning at all! Well, perhaps it is. In any case, the album is a bizarre one that caught me off guard, but in a good way. I think. I am so confused. First off, I am a little embarrassed to admit I had not heard of these guys before, but feel I should have. I mean, the band did form back in the late 1980's and released their debut way back in 1993. Where was I? In any case, I popped this in expecting something hard, heavy, and in my face. There I go basing expectations on a band name. Needless to say, what greeted my ears was nothing like what i expected. Instead of something like The Haunting (which is what I think I was expecting), I got something that comes across as a mildly lackluster crossing of Faith No More, Fear Factory, Rammstein, and Bloodhound Gang. I know, that sounds like it should kick some ass, but doesn't. Well, maybe a little. Not really.
Hailing from Sweden, Clawfinger has been at this game a long time, and that being the case, they have a nice crisp sound that reeks of experience, almost to a fault. I admit to expecting a younger and rougher act, but this is not a complete disappointment. The flawlessly produced record shows the band gleefully, mostly, crossing industrial and rapcore into an easily accessible mix.
As solid and entertaining as this record is, I have to wonder if it is terribly relevant? I am sure the longtime fans will definitely feel it is relevant, if I were one of them, I would be right there with you. With that out of the way, and attempting to be objective, I do not see this band as being all that meaningful to the current scene. The sound seems to be something that went out of fashion in the 1990's, early this decade at the latest. The rap-metal thing has slipped out of fashion after the big labels milked the sound to death, having flooded the market with sound-alike carbon copies that never lived up to the originators.
Life Will Kill You does have a selection of god tunes, although the replayability seems to be a bit limited. As I listen to them, there is that feeling of the old school that permeates everything and sees to rob it of the edge I believe they were going for.
In the end, I am having a difficulty time justifying the desire/need to rip these guys or this album. In the end it would be a pointless battle, as the fans will get on me, the masses will ignore me, and in the end I would be doing everyone a disservice.
Let me put it this way, Life Will Kill You is not a necessary album. In the big picture it is not going to make a mark or be remembered. Still, the album is a very easy listen, has some definite grooves, and will likely get into your head so that you rock right along with it. I like it and find it hard not to recommend.
Bottomline. In your face grooves, catchy rap-style vocals, and it doesn't make you think all that hard. Put it in, press play, groove.
Box Office Update 6/26-6/28: Transformers - Revenge of the Fallen Surprises All to Take Top Spot
Tuesday, June 30, 2009
Of course that headline is a little bit of a joke, as you will remember that last week I told you what would take the top spot. I accurately predicted that Transformers: Revenge of the Fallen would be the top movie. Guess what? I was right. I know, it was something of a gimme to pick the highly anticipated sequel to take the weekend, but we have had upsets before. Now that's funny, I am pretty sure that Michael Bay and his team were not terribly worried about My Sister's Keeper suddenly rising up and stealing its thunder; of course, that would have been hilariously awesome. Anyway, I added my dollars to the coffer by going to see the robot flick, sat in the theater with my mouth agape, and left the theater upon conclusion in something of a stupor. The movie is shockingly stupid in its narrative and amazing in its technical execution. Go for the effects, that is about all it is worth. Coming in second place this week is last week's top earner, The Proposal. The Sandra Bullock/Ryan Reynolds romantic comedy. I am vaguely interested in this one but have not yet had the opportunity. I think this combination holds the potential to make a rather likable pairing as they both have considerable charisma on screen. It showed decent legs dropping just over 44% from last week. I suspect I will get to see this next week sometime.
Third and fourth place films are a couple of the year's stronger performers. First up is The Hangover, the R-rated comedy that seemingly came out of nowhere and provides some of the summers biggest laughs. Then there is Up, which is set to become only the second Pixar film to hit the $300 million mark. Both films are first rate and well worth spending some time in the theater with.
My Sister's Keeper makes its debut in fifth place. Actually, this opened stronger than I was expecting. It did not strike me as a film that would hit nationwide. I am glad to see I was mistaken as it looks like a quality film. It stars Cameron Diaz, Jason Patric, and Abigail Breslin in a drama that involves cancer, creating what is essentially a backup child, and a lawsuit against your parents. Pretty heady stuff, I hope it is handled intelligently. This is another one I will likely catch up with sometime next week.
Year One took a dive here in its third weekend. This is one that just failed to catch on. I cannot say I am surprised, I feel like I am one of only handful of people to see something, anything, in it. Hopefully Jack Black and Michael Cera can bounce back as I like both of them.
The only other notable film in the bottom half is Away We Go, the new Sam Mendes film whose release widened this past weekend. The relationship comedy is a well acted movie that is touching and is definitely worth tracking down. The only thing that bothered me was the use of indie rock music, just not my seen.
Next weekend will see Michael Mann's new film, Public Enemies, arrive with the star power of Johnny Depp and Christian Bale (in what will hopefully be a bounce back from his lackluster showing in Terminator: Salvation). Also arriving is the movie most likely to win the weekend, Ice Age: Dawn of the Dinosaurs. I cannot say I am excited for it, but it will surely bring the families.
Three movies dropped off the top ten this week: Land of the Lost (11), Terminator: Salvation (12), and Imagine That (14).
This Week
Last Week
Title
Wknd Gross
Overall
Week in release
1
N
Transformers: Revenge of the Fallen
$108,966,307
$200,077,255
1
2
1
The Proposal
$18,578,541
$69,162,471
2
3
2
The Hangover
$17,022,166
$183,054,267
4
4
3
Up
$13,061,737
$250,234,554
5
5
N
My Sister's Keeper
$12,442,212
$12,442,212
1
6
4
Year One
$6,022,444
$32,529,560
2
7
5
The Taking of Pelham 1 2 3
$5,451,107
$53,456,827
3
8
7
Star Trek
$3,711,968
$246,331,182
8
9
6
Night at the Museum: Battle of the Smithsonian
$3,643,522
$163,391,192
6
10
13
Away We Go
$1,709,313
$4,088,390
4
Box Office Predictions Recap Amazing, the number one film took in about the same as the next nine films combined! This week proved to be a pretty good one for me. I only suffered a couple of minor gaffes, with the biggest being my assumption that the Night at the Museum sequel would do stronger this week, but it is falling pretty quick now, I guess people are finally tiring of it. As for this week's juggernaut? I can see it falling with slightly greater than average slips each week, supported by a variety of word of mouth opinions covering the love it to the forget it range.
Welcome back! Well, to some of you, anyway. To the rest of you, glad you decided to stop by and I hope this humble column helps you navigate the stacks of new releases each week. My goal is to point you toward titles of interest and warn you away from those films that seek to do nothing but leech away your time and give you nothing in return.
Full disclosure: I have not seen many of these titles, and what follows are not necessarily reviews, but opinions based upon what I know of the titles I pluck from the new release lists I peruse. The opinions I give based on the new releases are my own, and my recommendations are based on my personal interest. In any case, I hope you enjoy and perhaps find something you like or a title to point me towards. As I look over this week's offerings, I cannot help but feel a little disheartened. There is nothing terribly special to be found among the stacks. My best guess as to why the release schedule is so light is to not have to compete with the just opened theatrical juggernaut called Transformers: Revenge of the Fallen. Another possibility is that next weekend is July 4th and few will be sitting around watching DVD's. Why not save the big releases for a slower week?
Tokyo! Much like Paris Je T'aime, this film is a collection of shorter works on a theme from a variety of esteemed artists. The target this time is Tokyo, of course. It is a collection of three short films centering on the city. The directors are Michel Gondry (Eternal Sunshine of the Spotless Mind), Leos Carax (The Lovers on the Bridge), and Bong Joon-ho (The Host). The well regarded trip tackle the issue of whether people are shaped by the city, or the city by the people. I have not yet seen this, but the three directors involved have me greatly interested.
Stargate Atlantis: The Complete Fifth Season. The final season of the science fiction spin-off arrives on DVD. The first spin-off of the long running original series (which, in turn, was based off of a film) took a little while to get off the ground but really got a head of steam going once we got used to the characters. The series is set in the lost city of Atlantis, which also happens to be on another planet. The fifth season sees the base taken over by Woolsey (Robert Picardo), the final defeat of Michael, the introduction of rogue Asgaard, and a showdown with a Hive ship. In other words, plenty to hold you attention.
Eureka: Season 3.0. You know, I am not sure I have seen any of season 3. Not sure how I missed it, but I cannot recall anything about it. I guess it is time to catch up. The show is a lot of fun, it is lighthearted in nature but still tells interesting stories. It is set in a hidden town populated with the brightest scientific minds in the nation where they are free to experiment and create as they please, sometimes with disastrous results.
Eastbound & Down. Created by Jody Hill (Observe & Report) and stars Danny McBride (Pineapple Express, Land of the Lost). It is the story of a former major league baseball player who has returned to the hometown he had long since turned his back on to teach phys ed at his old middle school. I have heard good things and look forward to seeing this.
12 Rounds (also Blu-ray). If you have seen Die Hard with a Vengeance or Speed, you have a good idea where this is heading. You have a crazed killer with a vendetta against a heart of gold hero who is nigh unstoppable as he attempts to save the day. In the case of 12 Rounds, the battle between good and evil is framed with a 12-round gimmick (duh!). Miles Jackson (Aidan Gillen), our bad guy, has kidnapped Fisher's fiancee (Ashley Scott) and is challenging Fisher to 12-round battle to save her. He must do everything he says, and succeed, in order to have the opportunity to win her back. It is not a good movie, but you could do worse for some dumb entertainment.
Street Fighter: The Legend of Chun-Li (also Blu-ray). Speaking of dumb entertainment, here is one you can safely avoid. What I was hoping for was a bad but fun movie. What I got was a bad but stupid movie. I could not help but shake my head at some of the silly things that happen. I guess this world does not require any logic in its inhabitants. It centers on Chun-Li (Kristen Kreuk) and her desire to get revenge on M. Bison for the death of her father. It is complete and utter nonsense.
Samurai Champloo: The Complete Collection. I think I already own all of this series on the original disks, but I am not sure. Anyway, this series is a lot of fun. It comes from the same creator as the fantastic Cowboy Bebop and moves away from science fiction and jazz and into period samurai adventure and hip hop. If you want action, comedy, and drama this is a series to check out, well animated and voiced, it is a definite must have for your collection, and worth checking out even if you aren't an anime fan.
Tunnel Rats. Is it possible that an Uwe Boll movie could be good? I doubt it, but I have read good things about this one, so maybe that assumption is wrong. At least this isn't another movie based on a video game. Michael Pare stars as a soldier during the Vietnam War who is a member of a team of soldiers sent into Viet Cong tunnels to engage in hand to hand combat. Perhaps I will have to check this out.
Movie Review: Transformers - Revenge of the Fallen
Monday, June 29, 2009
I was born in the 1970's but much of my formative years was spent throughout the 1980's. So, it should go without saying that my favorite cartoon memories revolve around Transformers, G.I. Joe, and He-Man (somehow I missed Robotech). I can remember tuning in and watching them for hours. The adventures contained within those thirty-minute to commercials held me in rapt attention so many years ago. Sure, I never really pieced together the big pictures of their tales, but I never really needed to, as my imagination would run wild and build stories around the pieces of the shows that stuck in my head. Now we have Hollywood attempting to take those tales of decades past and give them vivid life on the big screen. Unfortunately, all of them have missed the mark thus far. In particular this new Transformers sequel fails to hit the mark with any type of success. I am not asking for much, and not to reach that is just sad. Before going into Transformers: Revenge of the Fallen I went back and re-watched the original 2007 film. As I sat there watching the transformations, explosions, and contemplated the tale being told, it dawned on me just how much of this makes no sense, is just flat out silly, and how forgiving I was of the project as a whole at that time. Now, I still enjoy it for the attempt and the fact that it really is kid of fun. However, the story of the All Spark, the Cube or whatever you want to call it is just flat out goofy. Beyond that, the movie contained a lot of out of place humor, including much of the parents' role, "Sam's special time," and Autobot Jazz being more hip hop than jazz.
With that viewing out of the way, I was completely prepared for what was certainly going to be a mind-blowing experience. After all, it is a new Michael Bay movie and who knows more about blowing things up than he?
There I sat, watching Transformers: Revenge of the Fallen with my mouth agape, chin clanking off my chest, mind-reeling from what was going on up on the gigantic IMAX screen in front of me. No, none of this was in a good way. Sure, there are some positives, and they are almost enough to save the movie, but it fell well short in key areas, not the least of which is the story. I know that some will make the excuse that it is a summer popcorn movie that exists more for the whiz-bang than any sort intellectual enlightenment, but seriously, is it really too much to ask for something that makes sense and at least pretends to have a brain? I am as capable of shutting down the intelligence generating portion of my brain, but some movies take my willingness to do so a little too far.
Revenge of the Fallen picks up two years after the first film, pretty much in real-time. Sam Witwicky (Shia Labeouf) is out of high school and heading off to college. Bumblebee is still serving as his protector, but since the battle for the Cube the war has been pretty quiet in terms of the big picture, but it is still around. While Sam and Mikaela (Megan Fox) have become a genuine couple, Optimus Prime and his newly expanded team of Autobots have formed a special forces team with the US military, where they hunt down Decepticon signals and proceed to terminate the intruder.
In order to have a movie, this status quo needs to be shaken up a bit. Things get underway when a shard of the Cube, or All Spark if you prefer, falls out of one of Sam's old sweaters, he touches it, gets zapped, and it starts turning the household appliances into killer robots. This brings him back into contact with Optimus, who was warned that "the Fallen will rise again." These two happenings are a precursor to increased Decepticon activity, the resurrection of Megatron, and the introduction of The Fallen, who is something of the Emperor to Megatron's Darth Vader. Together, the newly expanded team of bad-bots set out to find a new source of Energon, I think.
Anyway, the movie tells that Transformers have visited us a lot earlier than two years ago. Our shared history dates back to ancient Egypt where the Decepticons, led by The Fallen tried to farm Energon, but were defeated. In the present The Fallen is attempting a comeback and it is up to Optimus, Sam and the whole team to beat them back and save the day. At least, that i what I am pretty sure the story is. There is not a whole lot of that story stuff here. Michael Bay is much more concerned with getting to the next explosion.
There is a lot of running and clanging in this movie, plenty of yelling, and not a lot of anything else. The story can be followed, but after a few minutes you really won't care because there is no reason to. Yes, there are characters getting beat up, bloodied and threatened, but none of it feels really real. I never felt anyone was truly in any danger. I guess when it comes right down to it, the story doesn't matter much, evidenced by the lack of one being told here.
The writing is downright atrocious, I am surprised that this same team of Roberto Orci and Alex Kurtzman was also responsible for the Star Trek restart. The screenplay throws character after character at you, scarcely taking the time to even give them names, much like X-Men: Last Stand and X-Men Origins: Wolverine. Throw in some explosions, a finale that doesn't really feel like a finale (save for a somber voice over inviting another sequel) and you have your movie.
On top of the lack of story (despite a two and a half hour run time) there is a disturbing amount of off-color (not cursing so much, but definitely unclean) language that is not necessary. I understand they are trying to court the teen crowd, but this is not what the Transformers are about, the same thing afflicted Land of the Lost. Why is it necessary to resort to this? It isn't funny, appeals to the lowest common denominator, and is not true to the source material.
The characters are shallow, one dimensional and do not inspire me to care about them, whether or not that is due to the writing or the acting is up in the air, probably some combination of the two. I could not muster up any reason to care about them or their plight. You can throw as many explosions an effects shots as you want at me, if the story is not compelling, I will not care.
I particularly enjoy how the events of the first film have seemingly been ignored. In particular, it seems that no one saw the complete destruction that went down in the first movie, a government cover up was successful, and the possibility of alien robots has been relegated to conspiracy sites. What? I understand a desire to cover things up, but this is ridiculous. Also, couldn't the Autobots have a better "base" than an empty hanger where they just sit around? I mean, they possess advanced technology that I am sure could be used to better their Decepticon hunting. This is essentially the creative team deciding not to use their characters in favor of making sure we see all the GM and Chevrolet cars. Makes sense to me.
I have something important I want you all to know, "bigger" and "more" are not the words that should be used when developing a sequel. I know this is a common formula, and there is nothing wrong with making it bigger, but you need to focus on the story and let the action and everything else sprout organically from the tale. In the case of this sequel, it seemed to be more about cramming in more robots and more action any way possible.
Now, back to those characters for a moment. I would like to just say they were completely and utterly mishandled, but that would be overly simplistic. The humans are cardboard with zero depth. Megan Fox is almost human, she could possibly be a CGI effect, I am not sure. Of course I am kidding, but she is not convincing at all, especially with her glassy stare and singular expression. Shia does not fare much better in this film as the bulk of his role seems to be running around screaming "OPTIMUS!" It is a shame, as I think he has a good future, but he is not given anything to work with.
The supporting cast is not all that great either. Sam's parents are saddled with some goofy sexual innuendo, lame jokes, and pot brownies. Yes, very funny, but not really. I guess John Turturro playing the now former head of Sector 7 in the first film fares a bit better here, he is still goofy, but not quite as over the top. The rest of the human cast are just there to spit out a clever one liner or deliver a brief line of exposition.
As for the robots, themselves? They sort of look familiar, but they are not always acting quite right. Optimus Prime seems all too content to take a Decepticon life with extreme prejudice. The scene between a scheming Starscream and Megatron strikes more as a bit of fanservice than character development. Then there is the case of Skidz and Mudflap. Why? Was George Lucas consulted on how to add comical sidekicks that a devoid of comedic value? These guys are utterly worthless. Slang talking, gold tooth having, illiterate robots? Really? What were they thinking?
All right, we know the story is bad, we know the characters are thin, and we know the robots are not quite right. Is anything in this movie good? Yes, there is some good, but it is borderline enough to make it worthwhile.
So, what's good?
If there is one thing Michael Bay is good at, it is blowing stuff up. Nobody can stage an action sequence quite like he can. Unfortunately, action scenes are about all he can do, forget about any character work. On this level, the action in Transformers: Revenge of the Fallen is spectacular. Although the outcome is easily predictable, the action shows us things never seen before. He definitely put all the money on the screen (although I would not have been against putting some more into the writing). As good as the action is, it is the surrounding content that will ultimately define whether it is good or not. In this case it is not good.
Bottomline. The potential is there for the source material to spawn a good movie. Michael Bay has the right visual style for the movie, what is needed are writers who can deliver a story that is action packed yet has characters to care about in a story that you can be invested in (look at what James Cameron did with the Terminator films and Aliens). This movie fails to deliver in an engaging manner, yet I was still taken with the effects, which makes this movie watchable once.
In 2006 a movie made the arthouse rounds that turned heads. This movie stood out from the arthouse crowds and gave us a fresh experience by using old parts in a new way. The man behind the curtain was Rian Johnson and the movie was Brick. It tells the story of a high school student looking into the murder of his ex-girlfriend. No, not terribly original, but picture this simple on the surface plot and apply the logic, dialog, and general style of the hard boiled gumshoe stories of the 1930's. It was a breathtaking experience that has held up on repeat viewings. It is now three years later and Rian Johnson has returned with a new film, one that is distinctly different than Brick, yet still has that thread of fresh originality spiced with familiar pieces. Yes, The Brothers Bloom is here. The only thing I needed to know about this film going in was that it was written and directed by Rian Johnson. Then I saw the trailer, and if there was any doubt that I wanted to see this was erased. Of course, I avoided spoilers and tried to keep my expectations in check. You never know if Brick was a fluke, or if having a sizable budget will have an effect on an up and coming director. The only other knowledge of the film I had before the screening was an interview with composer Nathan Johnson (Rian's cousin) where he discussed the project in non-spoiler fashion. It was an interesting talk and featured a couple of interesting passages from the score.
All right, enough of this preamble, I am sure you are much more interested in my thoughts on the film. In short, the movie is a slice of smile inducing, tear creating, brilliance. The movie is distinctly different from Brick, yet it is still recognizable as coming from the same director.
At its basest, The Brothers Bloom is a con-man movie. It is about playing the con and taking it all the way, selling it on your way to the "perfect" con. What makes this con-man movie stand out is the unique vision that Rian Johnson brings to the tale. It has a very realistic feel to it, although it also exists in a distinctly fantasy flavored world. The movie is bubbling with a bouncy kinetic energy that is hard not to get into. It transcends the con-man tale to tell a story about the people involved.
The movie opens in the past with the brothers as youngsters getting into trouble and bouncing around the foster home circuit before deciding they are better off on their own and have a knack for pulling con. The brothers are Stephen (Mark Ruffalo), the con craftsman, and Bloom (no first name needed) (Adrien Brody), the sympathetic face who longs to have a life that is not written by Stephen.
As we first meet them, they have just pulled off a successful con and are celebrating. Well, Stephen is celebrating and Bloom is planning his exit from this life. And so Bloom exits, heading off into the sunset for a life of unwritten anonymity. Of course, this does not last long as Stephen tracks him down to do one last con. The target is Penelope Stamp (Rachel Weisz), a rich orphan who lives a secluded life inside her large estate where she collects hobbies. The con is simple, get her out of her shell and encourage her to finance their antique business.
What they could not foresee is the relationship that develops between Bloom and Penelope, it crosses the line of a con-man and a mark and moves into something that is much more real and throws a large monkey wrench into their plans.
I could continue with a plot description, but that would be a disservice to the wonders and twists contained within that deserve to be discovered fresh.
The Brothers Blooms is a movie that plays out like a snowball rolling down a mountain, gaining size, increasing in speed, running out of control, yet presents a beautiful image of complete destruction. This movies characters fates are set in stone, yet they move through life wild and unhinged. It is truly a sight to see.
What helps this movie take the turn of good to great is in that way it surges along on an endless wave of kinetic energy, but also in the way the characters are approached by Rian Johnson the writer and the performers in question.
Mark Ruffalo has a rough and tumble take on Stephen. He is clearly the instigator, the brains of the outfit, always looking out for Bloom and loving the craft that goes into creating the con. Then there is Adrien Brody, he seems happy, but underneath the veneer is a person of profound sadness and loneliness, whose entire life has seemingly been scripted by his brother. He longs for something more, something real and it is tearing him up inside the way it is just beyond the grasp of his fingertips. Completing our primary trio is Rachel Weisz, whose Penelope has a similar sadness to her life, not because it has been scripted, but because she has been so alone and so cooped up inside the walls of her estate, she does not know how to talk to people. Her sadness is underlined by composer Nathan Johnson's theme for the character, it is happy, but that sadness is very prominent.
The supporting cast is no slouch either. The most prominent character being Bang Bang, played by Rinko Kikuchi. She is nearly silent for the entire movie, but she is always around adding so much to the scene, be it comedically or dramatically, the character is an integral part to the story and while she doesn't have much to say, she has an awful lot to do. Also playing important roles are Robbie Coltrane as the Curator and Maximilian Schell as Diamond Dog. They both have an important and long lasting effect on the lives of the brothers Bloom.
Finally, I would be remiss if I did not mention the narration by Ricky Jay. The opening sequence of the characters as kids features a rhyming narration that perfectly sets the tone for the rest of the film.
Rian Johnson has knocked another one out of the park. By taking the familiar and putting a unique spin on the elements he has crafted a story that deserves to be seen. Not only that, he has a wonderful visual style with interesting camera angles, transitions, and cuts. His sense of pacing is spot on, and there is never a moment here you are left to get bored. The man has immense talent and I look forward to whatever he has to offer next.
Bottomline. This movie has it all, drama, comedy, action, explosions, and an immense amount of heart. It goes in unexpected directions, and reaches the only conclusion it could have. It will have an emotional impact as it ably shifts from the light hearted to the dark and serious throughout. Do yourself a favor and dig into their secrets.
New Movies and Box Office Predictions: Transformers - Revenge of the Fallen, My Sister's Keeper
The ninth week of blockbuster season brings with it what will likely be the biggest moneymaker of the year. It is one of the more highly anticipated movies of the summer and I hope it delivers the explosive goods of mindless entertainment. It will breath life into the season that seems to have fizzled a little bit. With the disappointing Wolverine and Terminator films, the bright spot has been stolen by Star Trek, Up, and The Hangover, now we have a movie to take the spotlight back. Will you be suckered in? Or will you use this weekend to catch up on what you may have missed? Transformers: Revenge of the Fallen. (2009, 151 minutes, PG-13, action) 2007 saw the arrival of the 80's animated icon invade theaters in tangible form. Shepherded by Steven Spielberg and helmed by Michael "I make things Awesome!" Bay. It was received with mixed word from critics and fans alike. I liked it, but did not in any way love it. That said, the combination of 'bots and Bay seems like the perfect fit for his sensibilities. Now we have the bigger, louder sequel with even more robot action! It has been savaged by critics to the tune of a $60 million opening day. I am sure Bay is crying in his Cheerios. I am looking forward to checking it out on the IMAX screen and am completely expecting to enjoy it, but I am sure I will not love it and feel that it is not the Transformers of my youth, much like its predecessor. Shia Labeouf and Megan Fox return to star for Michael Bay.
My Sister's Keeper. (2009, 96 minutes, PG-13, drama) Director and co-screenwriter Nick Cassevetes follows up 2006's Alpha Dog with this emotion-filled drama. Cameron Diaz and Jason Patric star as the parents of a young girl stricken with leukemia. In an effort to find a way to save their daughter, the couple have had a second daughter genetically engineered to use as a doner when the time comes. Trouble arises when the young girl, played by Abigail Breslin, decides she does not want to be a doner and sues her parents for her right to decide. It looks like a weepy, but it is also interesting in the idea of having a second daughter to use, essentially, for parts. I am looking forward to this, although it may be a week before I get the opportunity.
Also opening this week, but not near me:
Cheri
Girl from Monaco
The Hurt Locker
New York
Quiet Chaos
The Stoning of Soraya M.
Surveillance
Box Office Predictions Transformers: Revenge of the Fallen will win the weekend, mark your calendars, you heard it here first. All right, maybe not. Still, I guarantee that it will destroy everything. Having opened this past Wednesday, it did gangbuster business, taking in more than $60 million in one day. No, it did not overtake the current top dog, The Dark Knight, but it is still nothing to sneeze at. What will be interesting now is whether or not poor word of mouth will hurt the weekend? No doubt it will take the top spot, just by how much? The rest of the chart will probably just slide down a bit.
Director Sam Mendes has only made a handful of movies, but that handful of movies have revealed the filmmaker as someone with keen insight into human relationships. Sometimes they are interpersonal relationships and sometimes how people relate to their situation, the thing they all have in common is people with genuine feelings and true emotions. Last year, Mendes helmed a film that got a lot of people's attention and was nominated for multiple Academy Awards and Golden Globes. The what made this film stand out was the amped up relationship between Leonardo Dicaprio and Kate Winslet as the veil of suburban happiness was ripped away to reveal seething anger and resentment as the dreams of youth are torn asunder as the reality of a mundane life settles into place. I liked the movie, to an extent, but have no desire to revisit it. The movie was Revolutionary Road and it is a movie I do not believe Mendes wants to go back there either. To that end, Mendes is already back on the big screen, less than a year after that two hour shouting match. His new movie is called Away We Go, and it comes across as the complete opposite of Revolutionary Road. It still has a human relationship at its core, but other than that it is night and day. It is almost as if Sam Mendes intentionally went after a happier story about characters that do actually love each other to use as a cleanse his soul. I completely believe that after the experience of making such a downer of a movie, something is needed to get you back to an even keel. Believe me, he picked the right project.
In addition to Away We Go being a more uplifting project, it is also one that gets away from the studio-championed Oscar-bait drama that was Revolutionary Road (it was a good movie, more than just bait, but it would be hard not to see that a little bit) and more towards the independent spirit that has been lacking of late. The movie, and the trailer before it, just screams "INDIE!" It is not that it is a bad thing, but it is a little different from his last project.
Away We Go is a take on the road movie, but instead of a couple of buddies we get a couple in the midst of a major turning point in their relationship. They have reached a stage where they will never be the same, it is the time where they have to make that conscious decision to grow up and get their lives moving in an upward direction. To that end, our central couple hit the road in search of the place they really belong. It is a sometimes sad, sometimes hilarious, and mostly moving journey that I am glad to have been a part of.
Burt (The Office's John Krasinski) and Verona (SNL's Maya Rudolph) have just learned they are going to have a baby. This is the driving point of the film, it is the piece that spurs them on to their journey. They live in a ramshackle house, have no heat, and are unsure of where their lives are going. With news of the impending bundle, they are forced to take stock of their lives and reassess where they are going.
The couple, not yet married, although not for a lack of trying by Burt, head to Burt's family for dinner one night and learn they are moving to Belgium a month before the baby is scheduled to arrive. This news falls on Burt and Verona like a ton of bricks. Then comes the revelation, they don't need to stay where they are. With this, they set out on a journey around North America, searching for a new place to plant their familial roots.
Their journey takes them to meetings with Verona's sister and an old boss, an ex-girlfriend of Burt's, and some mutual friends in places like Phoenix, Madison, and Montreal. Each visit gives them a different look at what a family can be, each time they come away... well, I can't tell you that. Let's just say that each successive visit adds a little bit more to their life experience, coloring what t is they want to accomplish.
Away We Go is often very touching. There relationship is genuine, I honestly believe they care for each other. It is also no a perfect relationship, they have their problems, but they are their for each other at every turn. They each have fears and insecurities and they grow over the course of their journey. When we reach the climax, we believe they are going to be all right, they are going to come through just fine.
As touching as the movie is, it is also funny, at times uproariously so. Alison Janney, Jim Gaffigan, and Maggie Gyllenhaal provide many of the biggest laughs in their supporting roles. However, both Rudolph and Krasinski more than hold their own in the comedy arena, matching their ability to craft compelling, well-rounded (sic) characters.
Sam Mendes continues his strong of movies about relationships. This is a cathartic experience on the heels of Revolutionary Road, but should also not be looked upon as a lesser work, it is just different yet equally effective, if not more so. This is a movie I can find myself watching again. If there is one thing I don't care for, it is the indie folk style music that crops up on a regular basis, as if to bolster its indie cred. Fortunately, it is something I can get past.
Bottomline. I wasn't quite sure what to expect going in, but it is an experience I am glad to have had. It is a refreshing character based film in the summer season that is generally dominated by big effects and hollow characters. It is finely acted, well directed, and written with a sure handle on who these people are. Refreshing.
Century's Prosthetic Records debut, Black Ocean, has been in my possession for some time now. It is a release that I have been wanting to write about but for one reason or another have not. Some causes are not my fault, sometimes I just get really busy and have more pressing issues to deal with, while other times I just don't have the inspiration to write. I have turned to this record on a number of occasions, I cue it up, press play, open up my word processing software, give it a simple title, go to begin writing and my brain shuts down. I don't get it. It is not that I don't like the album, I just could not find the words. So, I figured I would give it one last go around, if this doesn't work, I doubt it ever will. I am hoping this non-traditional open will help get those words flowing. Formed in 2004, the Lancaster, Pennsylvania, based band did not take long to garner attention. They released a self-titled EP in 2005, followed by their full-length debut, the independently released Faith and Failure, in 2006. This brought Prosthetic to their door. The band signed on the dotted line, delivered Black Ocean, and the rest is history. The future isn't looking all that bad either.
This is an album that simultaneously stands out and fades into the masses of other metal bands. They walk a tricky line that blends elements of metalcore and melodic death together into a sound that is their own. Upon first listen, it would be easy for the average metal fan to dismiss them as just another faceless metal group that fails to distinguish itself from the pack. However, this would be doing both Century and the you (the collective variety) a serious disservice. No, I am not trying to label these guys as the next great thing, or making any attempt to raise them higher than they deserve. I am merely saying that they have a lot more to offer and have a greater original voice than may be found in just one listen.
Century's skills are shown off with great production value that gives a brutally effective balance between vocals, strings, and drums. Everything adds up to a powerful sound that is continually surging forward, not unlike a wave. There are many bands whose production could be likened to being beaten by a group of people carrying very large sticks, effective, gets the job done, but in some cases lacks a certain elegance. In the case of Century, it is more like a wave, perhaps even a tidal wave at times. Everything combines in this wall that picks you up throws you back, picks you up again and the process repeats for the duration of its concise 33-minute run time. It may sound odd, but this has a metallic elegance to it.
Black Ocean opens with the monolithic "Pantheon." It begins innocently enough with a heave wall of guitars and driving drums before truly taking off on a rather brutal path. It is followed by the title track, a tune that continues the heavy but introduces some more melodic elements that help to define the Century sound. It is here that I really began to notice what Century has to offer.
The blend of brutal and melodic sounds in a tidal wave of metal continues through other standout tracks like "Drug Mule," "Equus," and "Monolith."
Bottomline. This is a band you may want to keep an eye on. Their sound is interesting and shows a group who know how to construct a song. Century has a way of growing on you, getting under you skin and sweeping you along in just the direction they want you to. Black Ocean is a winner.
The latest WWE venture into the world of bog screen cinema is 12 Rounds, the second such film to star multiple time WWE wrestling champion John Cena. The first was The Marine. This might as well be the same film. Both films feature kidnapped girlfriends and Cena running roughshod in his attempts to rescue the damsel in distress. There is nothing particularly special about either film, and it was pretty safe to skip them during their respective theatrical runs. I mean, it is not like you are in danger of missing a potential Oscar nominee. Of course, I have seen both in the theater, and enjoyed both to a certain extent.
Way back in 1990 I was still in the throes of the "hair metal" era. I was only a few years along my path of musical discovery and years away from any true progression. Grunge was still a few years off and I had a rather narrow of what I liked in music. Rap? Forget it. Metal? Too heavy. Country? What a joke. That left me at the doorstep of bands like Def Leppard, Poison, Warrant, Skid Row, and Winger (yes, you read that right). No, there is nothing wrong with liking them and I am not here to defend my stance. What this is leading to is my first exposure to a guitarist names Bill Leverty. I first encountered him with a catchy hair metal riff in a song called "Don't Treat Me Bad" as a member of the band Firehouse.
Welcome back! Well, to some of you, anyway. To the rest of you, glad you decided to stop by and I hope this humble column helps you navigate the stacks of new releases each week. My goal is to point you toward titles of interest and warn you away from those films that seek to do nothing but leech away your time and give you nothing in return.
In 2007 Michael Bay brought the 1980's series Transformers to the big screen in vivid, metal crunching fashion. The story was somewhat lacking, there was stupid comedy, and some bad acting, but it was still an exciting film. One of the positive things I took away from the film was the score by Steve Jablonsky. It was big, bombastic, and sounded very good. I remember checking store shelves for it and did not find it, I checked online and did not find it. What's the deal? It is a big release, it should have a score album, right? It turns out there were no initial plans and it took an online position to show the powers-that-be that a market did exist. It came out in the Fall of that year, and it turned out to be a great album. Fortunately, with the release of the second film, they chose not to wait four months to release it. The question is now whether or not it is any good.
Unless you've been living under a rock, you know that the first sequel to the box office juggernaut Transformers has just been released. In its first five days of release, it has taken in a massive $200 million. Hard to believe, isn't it? Well, the suits-that-be knew they had a behemoth on their hands and decided that they needed a collection of tunes from hot bands to bundle together and sell to the teens who have just been stunned into an awestruck state. They won't know what they're buying until it is too late, by then the money will be out of the kids' hands and into the suits' pockets, leaving the teens with a mediocre collection of mid-tempo tunes. It is a shame to, it sometimes feels like the art of the soundtrack is dying and is treated properly by very few.
When Clawfinger's 2007 release, Life Will Kill You, arrived on my doorstep some time ago I was intrigued by its simplistic, yet clever, cover. Designed to look like a parental advisory label, only instead of a warning, you get the band name and album title. It isn't a warning at all! Well, perhaps it is. In any case, the album is a bizarre one that caught me off guard, but in a good way. I think. I am so confused.
Welcome back! Well, to some of you, anyway. To the rest of you, glad you decided to stop by and I hope this humble column helps you navigate the stacks of new releases each week. My goal is to point you toward titles of interest and warn you away from those films that seek to do nothing but leech away your time and give you nothing in return.
Century's Prosthetic Records debut, Black Ocean, has been in my possession for some time now. It is a release that I have been wanting to write about but for one reason or another have not. Some causes are not my fault, sometimes I just get really busy and have more pressing issues to deal with, while other times I just don't have the inspiration to write. I have turned to this record on a number of occasions, I cue it up, press play, open up my word processing software, give it a simple title, go to begin writing and my brain shuts down. I don't get it. It is not that I don't like the album, I just could not find the words. So, I figured I would give it one last go around, if this doesn't work, I doubt it ever will. I am hoping this non-traditional open will help get those words flowing.
