These are a few of my favorite things (from the last decade)

At the end of 2009 I posted my “Best of the year” lists, but I no longer consider myself qualified to do that. For one, I really only watch and listen to things that I want to watch or listen to, meaning there are so many great things I miss each year. Also, I’m not sure that one person can decide what’s best on his or her own. When judging a group of excellent products, the selection often becomes one of preference and not superiority. So I have decided to post some of my “favorite” things, but they may not necessarily be the best.

“Funny People’s” take on romance -
Too often romantic comedies pervert the idea of relationships through oversimplification. Mutual attraction is not always enough to build a relationship on and “Funny People” realizes that. The truth is that couples need more than to simply look at each other lovingly with sappy background music playing. Sometimes there are factors to consider beyond "I like you and you like me." “Funny People” is one of the few movies that considers a relationship’s consequences after the credits roll.

The 8th, 9th, and 10th songs in Bloc Party’s “A Weekend in the City” –
Bloc Party warmed my heart with “Blue Light” and “This Modern Love” on their debut album “Silent Alarm.” There was no way they could fill me with even more warm fuzzy feelings, right? Wrong. “Kreuzberg,” “I Still Remember,” and “Sunday” constitute the most touching three-song block I have ever heard – and that includes Bon Iver. The album as a whole is pretty decent, but those three songs serve as its goose bump-supplying climax.

“Kill Them With Kindness” by the Jealous Sound –
This album may be the only non-Bloc Party album on which I love every song. It’s pretty upbeat emo-pop for the most part- which I’m normally not a fan of, but I’m a sucker for a good hook and “Kill Them With Kindness” has plenty to offer. My favorite song on the album is “Recovery Room,” a churning waltz with guitars crashing like waves on the beach. The Jealous Sound broke up shortly after the release, but has recently remembered. I can only hope they recapture some of the magic.

“King of the Hill’s” Longevity –
The show is so understated and could be so easily overlooked, but it almost survived the entire decade, airing its last episode September of 09. Mike Judge has such a unique brand of humor and I’m glad he was able to display it through “King of the Hill” for so long.

“2012” –
Yeah, that’s right. I do like saying that I like it more than I actually like the movie, but it’s pretty cool. It has a surprising amount of laughs, mainly coming from Woody Harrelson’s character (exactly what such an over-the-top movie needs). The disaster sequences are the coolest I have ever seen and excel both as spectacle and suspense. I only wish the filmmakers would have taken it the next level, the ridiculous level that “Snakes On a Plane” so boldly went. When John Cusack sneaks on board the ark and finds the animal pens (a la Noah’s ark), I wish he had discovered a terrible government secret: genetically engineered dinosaurs. Cusack and his family evading velociraptors to make it on board the arks would have been the perfect icing on the decade’s most epic cake.

Braid - Video Game Review

Sometimes I reminisce about video games. Weird? Maybe, but I grew up playing them and since my PS2 broke down two years ago, I really miss them sometimes. I thought about splurging on a Wii or PS3 to recapture the chance to explore foreign worlds, even if it is through an avatar. Then I found Braid. I downloaded it on my Mac, paid a cool $15 for the license, and had a one-of-a-kind gaming experience without buying a whole new system.

Braid has everything I love about video games: stunning visuals, beautiful music, and – for lack of a better word- memorableness. I have never been so smitten by a game right away. Braid is a side-scrolling platformer that pays shameless homage to the original Mario Bros. You must hop on goombas, avoid piranha plants, and go through worlds searching for the princess. Though the object of the game is not to survive the level (like Mario). That is very easy to do because you are able to manipulate time in Braid, including rewinding so you never die. Braid is a game of genius puzzles that you must solve.

Each world has a few puzzle pieces to collect and, though they are very accessible at first, they soon prove to be quite tricky to reach. Each world reveals a new set of books with information about the character’s search for the princess. It is beautifully written and provides continuity and depth. If you ever get stumped (I did many times) do not resort to walkthroughs. It ruins the game. Often taking a few days or weeks off from the game allowed me to get back in and figure out how to solve puzzles I couldn’t. Be patient. It took me about 5 months to finish (with extensive breaks) and I had to check walkthroughs for a couple pieces (which I immediately regretted).

After finding all the pieces, the final world is unlocked. It is not difficult, but that is not its purpose. The final world is there to bring a narrative to a close. The ending is pretty surprising and a little confusing. I checked blogs to see how others interpreted it to better understand the game myself. I was very satisfied once I did understand it. Braid starts out as a simple but lovely story about the search for the princess, but becomes something much deeper in the end. Braid is a game with a moral. I don’t think I have ever played a game with a moral before. Braid may not be the fanciest car on the lot, but it’s got the whole package. It’s beautiful, deep, and a whole lot of fun.

Golden Globes, What's the Deal??

Now I have not seen close to half of the films nominated for Golden Globes, but I have seen enough to consider myself eligible to complain about the nominations.

Let's start with Best Lead Actor - Drama. I haven't seen any of the nominated performances, but I have seen "Moon" starring Sam Rockwell. And I use "starring" with it's strongest meaning. He's the only actor in the movie. He even plays the same character twice. Not making sense? Go see the movie!! It's terrific.

And as happy as I am to see "The Hangover" nominated for Best Musical or Comedy, it has a snowball's chance in hell of bringing home the Gold. I think "Up" should be considered for that honor. It was one of the best pictures of the year.

I am more dumbfounded that Julia Roberts was nominated for "Duplicity" than I am at the fact that I paid to see that movie. I seriously can't believe that of the "(500) Days of Summer" couple, Joseph Gordon-Levitt was nominated and Zooey Deschanel wasn't. Gordon-Levitt is very deserving, but I think Deschanel is slightly even more so. I can't think of another actress who could have played Summer. She should have Roberts' slot.

I wanted Woody Harrelson to be nominated for Best Supporting Actor so badly. Unfortunately he's nominated for the wrong movie! OK so this complaint is a bit indulgent on my part, but if you're going to nominate Roberts for "Duplicity" and Sandra Bullock for "The Proposal," it shouldn't be such a stretch to nominate a "2012" performance. Harrelson's character is one of the most entertaining I have ever seen. His character is unbelievably ridiculous, ludicrously outrageous, and he steals EVERY scene he's in.

It really saddens me to write this next part. My favorite film of the year was overlooked twice. "Ponyo" the heart-warming Miyazaki film is, in my opinion, "Up's" biggest competition for best animated film and it wasn't even nominated. I believe that in any other year "Ponyo" would be the best animated film, but "Up" is really good. "Ponyo" is so beautifully animated and powerfully narrated that it can melt even the coldest of hearts. It was also overlooked for Best Foreign Language Film (though it was released in America with English dubs so I don't know how that works). Please, do yourself a favor and see "Ponyo."

My finally complaint is with Best Original Song. Editor's "No Sound But the Wind" is hauntingly beautiful. I want to see "New Moon" just to see how they use the song. It's too bad that it has to be a film's signature song or "single" that gets nominated for these. So if any from "New Moon" were to be nominated it would be "Meet me at the Equinox" and I'm glad that very average song wasn't nominated. But I still love that Editors song.

The Voice of Humor

So many of the funniest television shows of my lifetime have been animated. It seems like the comedy with both the most laughs and longevity has been found in cartoons. So much of the humor comes from the talent of the actors. I have often overlooked the ability of the voice actors to say something in a really funny way. South Park's actors are so talented that they even base entire episodes off of being able to say something in a funny way. So here are my top 5 funny things said in cartoons:


5. "If you don't like it, you can get out!" by the citizens of South Park. - The episode "I'm a little bit country" was built around the ability to say this in a funny way, and boy did it work. Especially in a very effective flashback.

4. Hank Hill's shudder - I think if I had the choice between being able to make this sound or sing like Josh Groban I would pick the former.

3."They took our jobs!"- Many characters exclaimed this in the "Goobacks" South Park episode. The episode was also built around being able to say this in a funny way, but this one gets the nod over "get out" because of a very funny reference in the later "WWE" episode.

2. Homer Simpsons' yell - Yes, his high-pitched yelp takes the cake over his infamous "D'oh!" The yelping sound he makes when he's scared tickles my funny bone every time. I also love the way his tongue quivers in his mouth.

1. Anything out of Eric Cartman's mouth - There are too many to choose from so I grouped them all together. "But MOOOM," "That's a bad Mr. Kitty!" and other things that maybe only appear in one episode are vocal gold. Though Cartman is one of the most easily despised characters around, his voice makes him so likable.

Old Age Dilemma

The past couple weeks have delivered two new albums by two of my favorite artists: Weezer and Tegan and Sara. Both are seasoned veterans and released their seventh and fifth major albums, respectively, but have chosen very different paths with their 2009 releases.

Tegan and Sara's "Sainthood" is the duo's most mature and experimental album. The super-processed opening strums of the first track, "Arrow" is reminiscent of Nine Inch Nails. Though the song never reaches its potential, it is still a cool listen. The same is true with the single "Hell." Cool vibe, but not too memorable. The two exceptions to the underachieving trend are "On Directing" and "Alligator." "Alligator" may be the closest we see the Quin twins come to a disco dance track, but I wouldn't mind more because it's pretty groovy. "On Directing" has its own groove. The Quins skillfully surround the same chords over and over with ominous synthesizers and vocals until the song has worked its way deep into your soul and just sits in it. It's quite infectious. Yes, Tegan and Sara have obviously grown up as musicians, but they have lost some their charm on "Sainthood." This is hopefully a momentary hiccup because, though they manage a cool groove, the album is pretty forgettable.

Weezer, on the other hand, seem to have anything but growing up on their mind. Their recent collaborations with Kenny G and Chamillionaire on their AOL Sessions serve as convicting evidence of that. Somehow, at 39, Rivers Cuomo has written his most juvenile album, "Raditude". Just look at the song titles: "I'm Your Daddy," "The Girl Got Hot," "Let it All Hang Out." Every track on the album answers each cynically cocked eyebrow with a confident "you betcha!" "Raditude" is unapologetic pop music at its purest. The lyrics are ridiculous, but never show up the hooks (which are Weezer's best since the Green album). "Raditude" is not Weezer's most solid album, but it's so fun that you can forgive it. Purists may also scoff at the interpretation of "Can't Stop Partying," claiming the collaboration with Lil' Wayne corrupts the genius of River's "Alone 2" version. Well then just listen to the "Alone" version. The rest of us will listen to "Raditude" with jaws dropped, grinning from ear to ear.

Weezer's return to power after a two-album funk gives me hope that Tegan and Sara will make a similar comeback.

Weezer Posts 'Raditude' Samples on iTunes

Weezer has enabled 30-second samples of the 10 tracks (plus 2 bonus tracks) from their upcoming album 'Raditude' on iTunes. With the purchase of an iTunes pass, fans also have access to weekly album and bonus tracks before the album drops Nov. 3.

The first single from 'Raditude,' "(If You're Wondering if I Want You To) I Want You To" was released August 25. The second song released was "I'm Your Daddy" (available through the iTunes pass).

It's difficult to be surrounded by this Weezer hype without pondering the questions "Will Weezer finally return to form? Or will 'Raditude' simply continue the post-'Maldroit' funk that has descended upon the band?"

Frankly, it's a bit too soon to tell. By looks of this album, the old Weezer may be gone forever. However, I can confidently say that Weezer is going in a positive direction, even if they haven't returned to the level they consistently hit with their first four albums.

15 years after the release of their debut, Weezer seems more youthful than ever. They appear to have grown tired of the same songs and instruments and are trying new things. Pat Wilson has made the shift from drums to guitar, allowing Rivers Cuomo to perform solely as a vocalist. They have also traded in their sweaters for matching sweatsuits, reflective of their new polished sound. These changes are far more welcome than the Red Album's letting each member write a song and sing it (despite it's good intentions).

The last two Weezer albums both had a few good songs each, but 'Raditude' looks like it will have more. Both "I Want You To" and "I'm Your Daddy" are toe-tappingly catchy. And the 30-second sample of "I Can't Stop Partying" (the standout track on Rivers' stellar demo collection) sounds delicious. I can't wait to here Lil' Wayne's verse. The Indian-inspired vocals on "Love is the Answer" are a very pleasant surprise. None of the other samples really jumped out at me, but the mood of the record seems very upbeat and I'm slightly optimistic about it holding together as an album. Perhaps not at the level of the first four albums, but more than the disappointing last two. I hope I have not spoken too soon, but I like this new Weezer!

Ice Cold Summer

Last year, Heath Ledger captured our hearts with his Joker, one of the most memorable villains in recent film history. But 2009 offers us a villain even more groundbreaking: Summer Finn.

In "(500) Days of Summer" Zooey Deschanel played Summer, the object of protagonist Tom Hansen's affection. The narrator makes it clear at the film's start that it is not a love story. Summer and Tom will not end up together. Joseph Gordon-Levitt gives a pitch-perfect head-over-heels Tom that we can't help but root for (though it is in vain). But Deschanel steals the show with an ice queen performance to rival Tilda Swinton.

What made Ledger's Joker so great was how (for lack of a better word) "cool" he was. For such a sinister character, you really liked him. You wanted to see more of him. In "(500)," the narrator explains that, though Summer does not posses any extraordinary characteristics, she has a certain quality that demands attention. Deschanel hits this right on the head. Just like Ledger, you can't take your eyes off of her. It is Summer's likability that makes her so sinister and sets her apart from other villains.

Is Summer malicious? No. Violent? No. Conniving? Most likely not. Ruthless? You betcha. I felt like I should enjoy the tender moments between Summer and Tom, but I couldn't. Each time, Summer seemed to be stringing Tom along, neglectful of his feelings. She would casually mention that she didn't want a relationship, but continue to spend many an intimate moment with him. Though Tom's intentions were clearly sincere, she plays ignorant and uses him for her own ambitions. At times it even becomes angering to watch Summer ignore the feelings of such an earnest person.

Will Deschanel win an Oscar for her role? Probably not. But she certainly accomplished a lot with it. She invented a new kind of villain. She embodied all that made Summer attractive (quirky, graceful, funny) and still managed to let you hate her. The desire to see she and Tom together was just as strong as the urge to give her a piece of your mind. Isn't that what a villain is supposed to be? Hated and despised? I cannot even imagine feeling anything malevolent towards Ledger's Joker. Though Summer shows little regard for the hearts of others, Deschanel is winning over more and more with each view.

Fit for a King

This past Sunday was a sad day for television, though many may not realize it yet. While watching the final episode of "King of the Hill," I reflected on my love for the show. The love I didn't acknowledge until just before discovering it would be taken off the air. Mike Judge has become one of my favorite comedic minds, largely due to "King of the Hill." "King of the Hill" showcases some of the greatest characters around. From the over-the-top paranoia of Dale Gribble to Hank Hill's shudder there is so much to love about these characters.

"King of the Hill" may not supply the gut-busting laughs of say "The Simpsons" or "South Park," but its characters always keep it interesting. The final episode supplied such a fitting conclusion for two of those characters: Hank and Bobby. The finale did not go for the touching moments of the "Buckley's Angel" episode, but it was so satisfying. After struggling to relate with each other for 12 seasons, the father and son finally find something to enjoy together. And it's believable and utterly staisfying.

A Performer's Product

It's now been a few months now since the Academy of Motion Picture Arts and Sciences has announced that the "Best Picture" category of the Oscars will be expanded to 10 nominees in hopes to honor a more diverse collection of pictures. This comes just in time as this year has showcased some great Sci-Fi epics (Star Trek) and animated wonders (Up, Ponyo) that will hopefully receive the respect they deserve.

But there is still one issue that I take with the Academy Awards. The Academy seems to be favoring performances depicting real people in biopics. In the past five years, two of the Best Actress in a Leading Role winners (June Carter, Queen Elizabeth II) and four from Best Actor in a Leading Role (Ray Charles, Truman Capote, Idi Amin, Harvey Milk) have been playing real people. Not that there is no merit in those performances. Indeed actors can show off their range by playing different people very well, but I think we are forgetting the art of creating a character. Actors are artists and can most powerfully show their skill by turning what was only ink on paper into a living person that we care about.

I will begin by saying that I have not seen the film Milk so I cannot argue that Sean Penn did not deserve the Oscar for his performance. But I can push for performances like the one Richard Jenkins delivered in The Visitor. I was very glad that the Academy nominated him for a performance that could have easily been overlooked. But the reason that it could have been overlooked was because of its simplicity. It was not flashy. It did not call much attention to itself. But it may have been the most human performance I have ever seen. It is strange to think that Walter Vale is only a character and does not really exist in this world. Jenkins so completely created a person and for that he deserves an ovation.

It is so hard to label a performance "best" when they are all so different. Sometimes there is a clear-cut winner, but more often the level of excellence among the nominees prompts a vote of preference and not superiority. I simply hope that as we see (hopefully) more diversity in the Best Picture category we will see more diversity in the nominations and winners of the performance categories as well.

Ponyo

A small number of musicians are able to create a sound that allows an audience to identify them by it almost instantaneously. An even smaller number of filmmakers are able to do so with their work. Hayao Miyazaki is one of those filmmakers. And it is not just the stunning animation that makes a Miyazaki film so identifiable.

"Ponyo," Miyazaki's latest film, feels very similar to his "My Nieghbor Totoro." Both embody youth and playfulness, but run at a very steady, controlled pace. The pace in "Ponyo" doesn't maintain the hypnotic gait of "My Neighbor Totoro" and drags at times, but remains very watchable. But what makes a film like "Ponyo," which features very little action and next to no conflict, so watchable? There is a very elusive, yet tangible, quality that exists throughout Miyzaki's films and can be traced back to the world in which they take place. It is a world Miyazaki seems to visit and revisit so often in his films: a world where people care for one another, where adults trust children, and where love makes anything possible. The attraction to Miyazaki films is rooted in the human desire to belong to such a world.

In "Ponyo," this world takes the shape of a small town on the sea. Miyazaki juxtaposes the majestic depths of the sea with the underwater wasteland that the shallows near the shore have become due to human refuse. This serves as a visual example of just how far humanity is from the magical world Miyazaki creates. But there may be hope for us yet... A young boy named Sosuke rescues a goldfish that is trapped in a piece of garbage. He names the goldfish Ponyo and the two become friends. The friendship comes to a halt when Ponyo's father, a wizard who lives under the sea, retrieves Ponyo from land to bring her home. Driven by her love for Sosuke, Ponyo becomes human and returns to land searching for him.

If the story sounds familiar, it is because it was inspired by Hans Christian Andersen's "Little Mermaid." Miyazaki breathes new life into the tale with some of his most beautiful animation and tender moments to date. Really. This film is moving. Miyazaki's ability to capture the gentle power of love is something to behold. In "Ponyo," love's ability to cause miracles is fully realized. The story is, thematically and literally, about love's ability to change the world.

"Ponyo" is not the most exciting film, but it is one you cannot miss. It is also one that you cannot see just once. Once you have a taste of the magical world of Miyazaki, you will want to return again and again and again. But with every one of Miyazaki's triumphant stories he seems to be urging the audience "This doesn't have to be a place we merely visit. This can be a place we can exist if we trust in love."

Moon

"Moon" is a terrific film that begins like a familiar story, but becomes something uniquely different. Director Duncan Jones sets "Moon" up like cabin fever meltdown story in a habitat on the moon, but then takes a surprising turn which throws actor Sam Rockwell into one of the most unique performances of the year. Rockwell plays Sam, an astronaut who lives by himself in a habitat on the moon to supervise the harvesting of a lunar energy source. Sam is nearing the end of his three-year contract when he begins seeing things. For much of the movie the audience is left guessing at what is real and what is illusion. In the end, we receive a highly satisfying answer.

But satisfaction is hardly the aim of this story. "Moon" deals with exploitation of people by a company that is loyal to only its shareholders. In today's world, the idea of putting someone on moon by himself for three years more than borders torture, but does not seem like much of a stretch given our dissatisfaction with fuel prices. Sam's relationship with a robot named Gerty, his only companionship in the habitat, provokes interesting discussion about the nature of humanity when juxtaposed with the apparent neglect from the humans on earth.

"Moon" features a fresh, exciting story and a touching performance from Rockwell. It is also terribly ominous as we face issues like inhumane treatment and torture within in the United States and grapple with the task finding new sources of energy.

"Stranger Than Fiction" *Major Spoilers*

Do not read this article if you wish for the plot of "Stranger Than Fiction" to remain secret. I figure that since the movie is now three years-old it is now safe to discuss the plot. I could give you the gist of the movie and leave you with some idea of whether or not you might like it without divulging the story's details, but those details are necessary in revealing what makes this movie such a success.

"Stranger Than Fiction" should be required viewing material for any aspiring writer, filmmaker, or producer of any media, not because of excellence in craft (it is nothing extraordinary in that department), but because of its powerfully relevant metaphor of an artist's responsibilities.

Will Ferrell plays Harold Crick, a middle-aged IRS agent who lives every day on a meticulous schedule. One day he hears a voice narrating his every move to him, and very accurately. The voice is merely a nuisance to Harold until it predicts his death. With the help of a Literature Professor, played by Dustin Hoffman, Harold discovers that the voice he hears is the voice of Karen Eiffel, an author who always ends her stories with the protagonist's death. Harold, with his IRS resources, tracks down Karen and confronts her. It turns out that Karen is in the process of writing a novel about Harold Crick, a character she believed to be fictional. She is also trying to find the perfect way to kill Harold in her story.

After meeting each other, Harold and Karen are both convinced that if she finishes the story with Harold's death, Harold will die in real life. Karen discovers the perfect way to kill Harold and gives him a handwritten ending of the story (before typing it in her typewriter, making it official). Harold gives the ending to the professor who tells him that it's the perfect story. He urges Harold to let Karen use that ending because it would be the most poetic ending, even if it means Harold's death. After reading the ending, Harold gives Karen his blessing, agreeing that the end is perfect.

SPOILER. After a series of events we find Harold lying in a hospital bed: battered, bruised, and very much alive. Karen brings the finished story to the professor, complete with her updated ending. The professor tells her that story is okay, but not the masterpiece that it was when Harold died. You know what? Karen is okay with it.

We live in an age where the stories we are told (movies, books, television) and the stories we participate in (video games) are full of sex, drugs, and violence. Children are conditioned to think that promiscuous sex can be romantic, alcohol can be a gateway to romance, and those who use guns and swords to solve their problems are heroic. Is it any wonder that rape, suicide, and murder are so rampant? The worst part is that the storytellers bear no responsibility for their actions. With their First Amendment rights, they will never be forced to leave those certain elements out of their stories, but they can choose to leave them out. Use Karen Eiffel as an example. She chose protecting a human being over writing a great story. Even if a story can be told more poetically with sex or violence, is it worth it? Is it worth being told at all? At whose expense is art gaining merit? The children of the world face enough tribulations as it is and deserve some real heroes to look up to. Even if it means they won't be quite as entertained. Are innocent lives the price we pay to make art?

"Sundays at Tiffany's" by James Patterson

Sundays at Tiffany's begins with Jane, a young girl with a wealthy diva for a mother named Vivienne. Jane appears shy and misunderstood and she seeks refuge in her relationship with her imaginary friend, Michael. It later appears that Michael, a handsome and charming thirty-something, is more invisible than he is imaginary. Michael leaves Jane promising that she will forget him completely. Fast forward about 24 years and Jane is working an unsatisfying job for her mother, is in an unsatisfying relationship, and still has not forgotten Michael.

I read this book because I was in the mood for feel-good romance. I have to admit that the premise for this book is original. I also enjoyed the element of fantasy in the book as it relates to imaginary friends actually existing outside of children's imaginations. We find Michael in between "jobs" (children to befriend and guide). He lives a seemingly normal life in New York City, is completely visible, and possesses a few neat powers.

Then Michael sees grown-up Jane. He is hesitant to approach her because it breaks some sort of "imaginary friend code' or something. They eventually meet and start to develop a relationship. This is where the book begins to spiral out of control. Not that it was in much control to begin with. Yes, the interpretation of imaginary friends is unique, but Patterson's/Charbonnet's prose is the ultimate downfall. Tiffany's is a story of love and destiny. A very poetic type of storytelling is required to convey that emotion; and Patterson just doesn't have it. I think he equates sappy with poetic because this story is not short on sap. Not by a long shot. Patterson also only describes the love between characters by writing variations of "she loved him" or "he loved her so much." This got tired fast. Still, for all that awful sappiness I still felt compelled to finish it. And I got through it very quickly. It doesn't drag (thank God), but it's definitely not worth the effort.

Hamlet 2

Hamlet 2 stars Steve Coogan as an actor-gone-high school drama teacher. His lackluster productions lead the school board to cut funding for the drama program on the eve of his original play intended to save the department: Hamlet 2. This sequel has Hamlet traveling through time with Jesus for some reason and is viewed as highly offensive by many. As a result, the school decides to cancel the play. But Coogan's character is bent on performing his baby.

Quite the premise.

Unfortunately, the film doesn't live up to the premise. The only funny moments in the film are when we see characters rehearse the play or discuss its scenes. This really builds up expectations for the final performance which doesn't end up being funny at all. It is built up to be so scandalous, over-the-top, and crossing the line, but in the end Hamlet 2 (play and film) is just not that outrageous. I was very frustrated because the premise and its star, Coogan, obviously have so much potential. But instead of relying on shock humor (I expected something in the vein of Matt Stone and Trey Parker) it settles for uninspired slapstick and unoriginal urban-meets-suburban student interactions.

Hamlet 2 was a vehicle built to soar, but never manages to lift off the ground.

Death Cab for Grammar

Continuing my previous rant on Death Cab for Cutie (a band I actually casually like)...

Something I have always taken issue with is the lyric "the rhythm of my footsteps crossing floodlands to your door have been silenced forever more" from the terrific song "Transatlanticism." The lyric is beautiful, descriptive, and moving... on opposite day! It should actually read "has been silenced forever more." The subject of the sentence is "rhythm," but it is written as if "footsteps" (the object of the preposition) is the subject. "Of my footsteps crossing floodlands to your door" is the prepositional phrase and should be removed when conjugating the verb. Once it is removed you are left with "the rhythm have been silenced forever more," making it obvious that "has" should be used instead of "have." The rhythm was silenced, not the footsteps themselves.

Now this is not a big deal. I post so many egregious errors on this blog that I often cringe when I go back to read my entries. The difference is, once I realize the error, I fix it. I realize that Death Cab cannot change the studio recording of "Transatlantacism," but I thought that they might revise the lyric when they perform it live. On Sunday July 5 at the Hollywood Bowl, much to my dismay, Ben Gibbard sang the word "have." Oy vey!

The New Pornographers, Tegan and Sara, and Death Cab for Cutie at the Hollywood Bowl 7/5/09

I must say that my first trip to the Hollywood Bowl was a very good one. It was a perfect night to be outside, the scenery was very pretty, and the venue's size did not hinder my enjoyment as much as I expected. My one qualm was with the sound. Though clear, the sound of more "rocking" songs seemed a bit wimpy. But I suppose this is understandable as the venue was intended for orchestral music, not rock and roll.

The New Pornographers took the stage first and played a very tight 30-minute set. Their performance of "Challengers" (the most acoustic song of their set) was very good and displayed gorgeous harmonies, but the chatter of the crowd took a lot away from the moment. It's too bad because that was the one song not hindered by the sound of the Bowl. There are a few songs I wish they would have played, but in 30 minutes they couldn't please everyone. I am pleased with what I got: a well-performed high-energy set of great music. The only issue I took was that singer A.C. Newman seemed to struggle with the harmonies of the last two songs "Sing Me Spanish Techno" and "The Bleeding Hearts Show." I doubt that this was an isolated incident because I couldn't imagine his voice hitting some of the notes on any occasion.

Tegan and Sara were up and running within 15 minutes of the end of the Pornographers set. Their first song, "Dark Come Soon," grabbed the audience's attention right away, but they were unable to keep that very firm grip. They used a good balance of banter and music to keep the audience engaged within their allotted 45 minutes, but suffered from what appeared to be a lack of practice. They played a gig in Seattle two days earlier, but are not currently touring and probably have not had tremendous amounts of rehearsal time with the band. Some of the transitions were a little sloppy and left the songs feeling less than dynamic. "Living Room" was the only song from their first two albums in their "Con"-heavy set and I was left wishing for a bit more diversity. I really enjoyed finally seeing Tegan and Sara live for the first time, but felt like seeing them headline a smaller venue would be much more fitting. "Nineteen" and "The Con" would probably rock more with a louder sound system and people would not be chatting during their quiet numbers. So this was basically a tease for me.

Then Death Cab for Cutie took the stage. I feel like I should begin to describe their set at the end of it: 17,000+ people on their feet, applauding as though they had just seen one of the most riveting performances in recent music history. Because they had... for about 8 minutes. Death Cab opened without the Philharmonic with a rocking "Marching Bands of Manhattan" and made cool transition from a song I'm not familiar with into "The New Year," but that was about all I liked about the first half of the set. The privilege of watching Chris Walla shred wasn't even enough to keep me interested. I admit I'm kind of growing tired of Death Cab, I don't like their new music at all, and I was bitter that such a mediocre band would sell out such a huge venue. So this review is a bit biased. I got my wish and they played "Summer Skin," but they didn't do it with the Philharmonic which continues to puzzle me.

After about 40 minutes, they left the stage promising to return with the Philharmonic. I have to admit that adding all those instruments made their sound much more dynamic. I don't really understand their insistence on rocking with songs like "Movie Script Ending" when more melodic songs (like "Summer Skin") really could have benefitted from the orchestra. After about 30 minutes of slightly improved music the audience was brought to the previously mentioned 8 minutes of euphoria. Yes, I am talking about the "Transatlanticism" finale with the LA Philharmonic in tow that I new was coming. I expected it, but I never could have been ready for it. The performance was great and the Philharmoic added beautiful texture. I was afraid they would make the song too busy, but they were able to evoke the wide-open ocean sound that they do so well on the record. And just when I thought it couldn't get better, the fireworks began. It was such a perfect visual and audial crescendo. Really perfect. I can't think of a performance that made me feel like that. It's amazing how a good finale can make you forgive an hour of mediocrity.

"Post Electric Blues" Idlewild

Gorgeous. Dramatic. Delicate. Those are all words that I would use to describe Idlewild's past music. Their newest album, "Post Electric Blues," earns a description that I never would have expected: delightful. Until now, I would have gagged at the thought of a "delightful" Idlewild album. But this one has grown on me.

Woomble and the boys bring the joy right away too. The first two tracks are verging on Polyphonic Spree level of sunshine. And they sound really good. The "it" song on this album is a precious little number called "Take Me Back to The Islands." It didn't grab me right away like "American English" and "El Capitan" (the "it" songs on the last two good Idlewild discs) did. But rather, its beauty snuck up on me after a few listens. And that's not the only difference. Woomble is no longer mourning over popular suicide destinations or proclaiming that happiness never happened. "Take Me Back to The Islands" is about having found a place of contentment and longing to return to it. That is what really makes this album work.

Woomble's lyrics indicate that he is no longer a restless soul, crooning over the darkness that is so prevalent in the world. He seems to have found peace. I am relieved to say that this peace has not put a damper on his poetic lyrical authorship.

"Post Electric Blues" is far from a perfect album and not even close to as solid as "The Remote Part." Idlewild has continued to push the folk envelope without fully letting go of their electric guitar punk past which makes the album seem slightly unfocused. I admit that I prefer the mellower side of Idlewild, but "All Over Town" is such a welcome electric track on the album. I really wouldn't change a thing on the album because it would risk destroying what Idlewild so effectively created: an album that reflects the peace the band seems to have found. The album is a place that I can retreat to and feel glad. Every time I listen to it, I am confident that something good exists in this world because it inspired "Post Electric Blues." This album fills me with a warm fuzzy feeling and, for that, I expect to return to this album again and again for many years to come.

Why Kyle is excited for this summer!

Hello friends. As the voice of my generation, I feel it is important to inform the public what I am excited about this summer.

Television:

The Tonight Show with Coco Christopher - I'm hoping Conan's new nickname catches on. Either way, I love this man and gladly welcome him back to television.

Music:

New Idlewild CD!!!- I don't know what it's called or whether or not a date has been announced, but I already paid for it so I better get it soon!! Their albums had been getting more and more folky from "100 Broken Windows" to "Warnings/Promises" before returning to their more sonic roots on their most recent album "Make Another World." It appeared that frontman Roddy Woomble channeled his folk energy into his solo disc "My Secret is My Silence." "Make Another World" was such a disappointment compared to past Idlewild CD's and Roddy's solo work so I can only hope that their new album marks the return of their folk meets sonic sound.

New Pornographers, Tegan and Sara, and Death Cab for Cutie with the LA Philharmonic Orchestra at the Hollywood Bowl

This will be the third concert I've gone to where I've been more interested in the opening acts than the headliner. And the first two, I walked out on the headliners. I've seen Death Cab once before, though, and I really like their less recent work. My one wish is that they play "Summer Skin." It's my favorite song of theirs and think it would be gorgeous with the orchestra backing. I also just flat out can't wait for Tegan and Sara. They're so hot right now.

Movies (oh so many, I'll keep it brief)

The Hangover - If they keep a balanced witty dialogue-to-slapstick joke ratio (I'm worried about too much slapstick) it could be the funniest movie of the summer.

Year One - "She's alright, but I wouldn't lay with her." I'm going out on a limb because this could be really bad, but I think it will be funny.

Twistee Treat- I'm a little upset that gay jokes have now infiltrated PG movies and I don't think the "funny" older brothers look that funny. But the star Robert Newton looks like he makes a very likable awkward teenage protagonist. I think he could create some really enjoyable interactions with his female costar in this 15-minute short.

Brüno - I didn't think Brüno was as strong of a character as Borat, but the trailer has restored my complete faith in Sacha Baron Cohen. It looks hilarious.

Paper Man - What you need to know: 1) Jeff Daniels plays an author who has an imaginary super hero friend. 2) The super hero is played by Ryan Reynolds. 3) It's got Jeff Daniels!!

Ponyo - I have been looking forward to this movie since last year. Miyazaki has made a more cutsie, kid movie than his last two and I am so pumped for it. His childish "My Neighbor Totoro" is one of my favorite stories of all time. If I had to bet on one filmmaker to make movie magic. Powerful, beautiful magic. I would put every last penny on Miyazaki.

Funny People - Apatow's movies all just seem to be right up my alley. This one looks even more sentimental than his others, and I think I'll like that. It also looks like it's finally putting Adam Sandler back in a good movie.

Extract - Underrated funny man Mike Judge returns to cinema. What Judge lacks in gut-busting laughs (of say, Apatow) he makes up for by putting unique characters in interesting situations and getting you to care about them (as opposed to Apatow's winning "insert generic Seth Rogen character here" formula). It's also got a great cast. I will watch Kristen Wiig in anything and Ben Affleck looks like he'll actually be funny.

Kris Allen on "Ellen"

So I saw Kris Allen perform a couple songs on "Ellen" yesterday.  That guy won American Idol??  They must have really been hurting for talent this year.  I didn't watch any of this season so I may have missed some dazzling performances of his, but he just didn't seem like anything special to me.  I admit that he is more talented than myself, but if he was the winner of the entire competition, then Sanjaya probably would have had a fighting chance this year.  Kris Allen makes Ace Young looks like Marvin Gaye.  Remember Ace Young?  The cute guy who survived elimination after elimination even though he was out of his league talent-wise until he finally delivered a great performance only to be voted off the next day.  To be fair, he was probably in the most talented season of Idol- season 5- which produced the talented Elliott Yamin, Chris Daughtry, and Katherine McPhee as well as the charismatic Kellie Pickler (supporting Taylor Swift on her current tour), Bucky Covington, and the winner Taylor Hicks. If Yamin or Daughty were in the contest this year they would have cleaned Kris Allen's biological clock.  And they finished third and fourth respectively.  Now I can't say for sure because I didn't watch the season, but American Idol looks to be going down the tubes.  I only wish Danny Noriega could have had a crack at this year's talent.  That guy could sing and perform and he was super interesting.  And I may never see him perform again...

Magic 107 Cavs 106

I never intended myself to be a sportswriter on this blog, but I have too much to say about the epic Game 1 between the Cavs and Magic.  During the first three quarters I was fuming and preparing my rant on how David Stern must have told the refs to make sure that both the Cavs and Lakers advance to the finals, but I don't think that's true.  Stern may have more on his mind than a Kobe-Lebron showdown.  But both the Lakers and Celtics did seem to get a lot of help from the officials on the way to the finals last year, though.  So we'll have to see how this series goes.

If I had the chance to say one thing to the officials, I would tell them that Lebron James is already the best player in the world and doesn't need every call to go his way.  He's the last player that needs it.  Dwight Howard's 6th foul was a joke.  I think it's wrong for refs to overlook fouls to keep stars in the game, but I can't believe they would call that on Dwight. Lebron's spin move didn't draw a foul either.  Charles Barkley pointed both of those out in the post game.  And you Cav sympathetics- don't you dare try to use Dwight Howard's screen on Mo Williams as an example of a call that went Dwight's way; that was just being consistent. Every shot Ray Allen took in the playoffs was opened up by a moving screen.  Refs aren't calling moving screens and shouldn't start now.

If I had the chance to say one thing to David Stern, I would advise him to be more liberal in enforcing the "flop fine."  The NBA announced that it would review all games and fine players for flopping.  There have been so many flops gone unpunished (*cough* Rondo *cough*).  A good place to start might be with Lebron with about 28 seconds left in the 3rd.  Pietrus drives on Lebron (who DID have good position) and gives him a little bump which send Lebron FLYING.  Not that any fine would make much of a dent in Lebron's pocketbook, but making the fine public would set an example and hopefully cut down on flopping in these playoffs.

Two final thoughts.  Lebron had some great, clean blocks on Dwight Howard.  But he was able to do so be playing away from Rafer Alston.  How dangerous would the Magic be with Jameer Nelson?  Lebron could maybe match up on Courtney Lee and leave him open, but Lee can score and if he doesn't, Van Gundy can sub Pietrus (who is playing GREAT).  It's too bad that Nelson can't play now.  He could be a great part of a CHAMPION Magic team if he were healthy.  But even without their All-Star PG, they've got a great chance.  I love how this team is playing now.

Final thought.  Play of the game: Courtney Lee stealing the ball and DUNKING on Lebron on the open court.  If that was in Orlando, the building would have gone ballistic.

Return to the Blog

I'm BACKK!!!  I offer my sincerest apologies to all of my followers (assuming I DO have followers outside of my wildest dreams).  I have neglected this blog for far too long and I offer no excuses!  I hope to update this regularly (even if I don't have anything to say) just to let you know that I'm okay.

In my absence, I have been pondering my role as a critic.  I have grown increasingly skeptical of the use of violence, drugs, and sex in entertainment as of late.  I personally think they should be excluded from entertainment, but censorship is not the way of this country so I will probably not get my wish.  I can only hope that musicians, filmmakers, and other artists will see the potential harm they cause to the youth of this world by saturating it with harmful content.

What I can do is 1) control what I consume and 2) speak my mind on this blog.  I have made a personal vow to give up movies that use violence or combat as entertainment (this includes Pirates of the Caribbean and Star Wars).  I am especially worried because so many children view these movies.  I don't think glorifying the use of the sword is a good idea, especially when there are so many (equally gratifying) ways to be entertained.

I am conflicted, though.  In reviewing "Adventureland," should I comment on the deft comic subtleties of Jesse Eisenberg and the entrancing story-telling?  If the answer is yes, then I am recommending a movie that I believe portrays alcohol and drugs as a gateway to romance (something desirable).  I don't think the reinforcement of that message is healthy for our youth.  Kids get drunk and high enough as it is!

I have come to a conclusion.  When I review something, I will do it just as I did in the last paragraph.  I will give credit where it is due, but I will be just as quick to tell you what's wrong with the movie (because I do, in fact, have all the answers).  Feel free to skim or skip my sermons, I realize that I am just submitting opinion.  I just feel like I should submit it.  That's what blogs are for!

If you are in need of prayer for anything let me know.

1st Annual Irwies

Many of you probably considered the Oscars the climax of the award season. Those of you who know better have been anxiously anticipating this moment. The birth of the Irwies! The Irwies are cyber awards given out to figures in the world (entertainment or otherwise) that I consider worthy of recognition in honor of the late Steve Irwin: entertainer, educator, funny accent- talker, and friend to us all.





So without further ado, let the Irwies begin!








The first award is for Redemptive Moment. And the Irwie goes to...





R. Kelly for his surprisingly uplifting Obama Anthem "I Believe." After it appeared that the falling apart of his career would culminate in his part of Beyonce's "If I Were a Boy" remix. On the remix, Kelly sings the shockingly disrespectful lyrics "So I go to clubs with the guys and sometimes flirt with the girls/ I should be able to roll out as long as I'm coming home to you and give you the world." Does he honestly believe that? Either way, "I Believe" should draw comparisons to "I Believe I Can Fly" for reasons beyond it's title. It's really good, and if it had that soundtrack that "Fly" did it would get its recognition.





Continuing in the world of music the Irwie for Best Hook goes to...





That part in "I Luv Your Girl" by The-Dream where he goes "I'm sorry I got it in for your girl, your girlfriend." The beat remains as cool as ever, but the layered vocals drive the chorus to a gorgeous R & B moment.


- Honorable Mention: The part where Dragonforce sings "Glorious! Forever more in us..." on the track "Heroes of Our Time." Unfortunately, the British rockers lose points for only including the hook once in the entire seven minute song.

Most Improved Band:
Kings of Leon: Their sound got a lot bigger, deeper, and more engaging. "Only By the Night" is a pretty tight album.

Honorable Mention: Augustana for trading in piano for guitars. Some of their "Can't Love Can't Hurt" album still features the keys, but it's strong points ("Sweet and Low" and "Still Ain't Over You") have some pretty sweet guitar melodies.





Onto the world of film. the Irwie for the greatest movie moment of 2008 goes to...





Simon Brand dir. "Paraiso Travel" - The bus scene.


I have to admit that I watched this movie and Spanish and understood very little of it. But the scene in which Marlon, riding on a bus through New York City, sees Reina, his lost lover for whom he has been searching the entire movie, and begs the bus driver in Spanish to stop the bus. He gets out of the Bus, running and shouting her name, the city swirling about him. The tension is thick, the Sigur Ros music in the background is perfect, and the result in any language is goosebumps.



Disappointment of the Year:

The Office. I'm just going to say it... "The Office" got a whole let less interesting now that Jim and Pam are together. I know I couldn't help but root for them and was excited to see them together, but once it happened Jim became kind of- well- a douche. At this point nothing would make me happier than to see Jim catch Pam and Michael together. If it happens remember you heard it here first!




Which brings us to our the final Irwie: Stone Cold Fox of the Year.


And the Irwie goes to...





Nastia Liukin. I mean honestly, does anything get your water boiling more than the All- Around Gymnastic Olympic Gold? And when she sat there pouting because her tie for first somehow landed her in second place, who among you could deny the desire to comfort her, but also recognized that you would lack the courage to face those icy eyes? Ice Woman, yes please! A fierce, strong competitor with a reluctant smile that could warm up the world. Permission to gush? As if I can help it.





Honorable mention:
Anna Poppelwell. Queen Susan of Narnia herself. When did she become such a fox? How she wielded that bow and slyly tells Prince Caspian to keep the horn because he might need to call her again. Well done Ms. Poppelwell.



Thanks for joining the First Annual Irwies in recognizing things that I liked and didn't like in 2008. See you next year and then some.

"Where You Belong"

I made a terrible mistake.  On my Best of 08 List I forgot to include "Where You Belong" by Kael Alden on my singles list.  I have been anticipating the release of the full length song after I first heard the song on a commercial.  Allow me to explain.

A Pebble Beach Lexus RX commercial that ran last year was backed by the most beautiful electronica track.  After some research I found out that the song was written for the commercial by Kael Alden (one of three members who Faded Paper Figures- whose debut album was number 5 on my 08 list).  I really got into the Faded Paper Figures and then noticed on their website that Alden petitioned Lexus for the rights to make a full length version of the song (probably because so many others were fans of the commercial).  Due to legal issues the release was very delayed- until now- or a month and a half ago anyway.  "Where You Belong" was released on www.fadedpaperfigures.com on December 5 2008 making it 100% eligible for my Best of 08 List, but I didn't discover it until today!

Luckily, the full length did not disappoint in any way.  It actually surprised me and rocked a little more than I expected it to.  The restrained yet intense drums drive the song once they kick in.  The juxtaposition of choppy vocal samples with flowing synth riffs creates a delicate atmosphere perfect for musical immersion.

Between this song and Faded Paper Figures' album "Dynamo" there is so much worth praising.  I can't wait to see what these guys do next.  they show so much musical promise, Faded Paper Figures and Kael Alden are names worth remembering.  But in the meantime LISTEN TO "Where You Belong"!!