U2: U218 Singles (2006)

Bono and The Edge could sing the alphabet in Hebrew and I'd love it.  Obviously I'm going to be biased.

This collection of music videos {and amazing extras} rocks. Spanning their work, these 18 singles represent the best of each decade from Mysterious Ways and Beautiful Day to Sunday Bloody Sunday live at Red Rocks. Also included are the two singles from their latest album, How to Dismantle an Atomic Bomb, Vertigo and Sometimes You Can't Make it On Your Own.  Added to the mix is footage from their duet with Green Day at the New Orleans Superdome. Not to be missed is the story behind One, a song with three different visions.

Awesome videos and a solid history lesson on one of the greatest band ever.  What more can you ask for?!  It's great to see the boys enjoying themselves and each other, but it's even better to see U2 pushing the boundries of an art form.

The Carpetbaggers (1964)

Carpetbagger (noun): any opportunistic or exploitive outsider

Jonas Cord Jr. (George Peppard) is an embittered tycoon who inherits his neglectful father’s wealth at a young age. Jonas sets out on a path of unexplained self destruction buying or destroying everyone in his way. It’s not until he is confronted by long time friend/mentor Nevada Smith (Alan Ladd) that Jonas sees what he has become.

The Carpetbaggers is a classic Hollywood soap opera that once was deemed for ‘Adults Only’. In this day and age, there’s hardly anything found to be offensive.  It will raise a few eyebrows mainly because you wonder ‘how did they get away with that’.

Filled with broads, bedroom scenes, cigarettes, and lots of leg, The Carpetbaggers also has enough subplots to make your head spin. George Peppard is fascinating to watch as Cord. During this two hour power-trip he is brutal and cold, but his evolution to soulless is subtle and perfectly executed. Alan Ladd as the long-suffering friend turned enemy is top-notch.

The production is lavish—reminiscent of Dallas. Every detail is luscious—gawdy even. There are moments of melodrama, but The Carpetbaggers delivers on every tawdry level thanks to the exceptional cast. As I see it, Hollywood doesn’t make fine trash like this anymore.  Certainly a must-see for old Hollywood fans.

Inglourious Basterds (2009)

I’m at a loss to describe the spectacle I have just beheld. Perhaps Quentin Tarantino’s most honest film to date, Inglorious Basterds feels unusual, yet familiar. Truly, I don’t know how to react—it’s like a smash up of Spaghetti Westerns and Band of Brothers.

My biggest issue with Tarantino is his inability to check his ego and create something original—it’s always an homage to something. Inglorious Basterds is that—an homage—but somewhere along the way, this story of Jewish-American soldiers who brutally attack (and scalp) Nazis transcends the brutality to become, well, interesting.

This film is balanced. That’s what I like. The QT flourishes are there, but underscored. The viewer isn’t smacked in the face with references, the gore and violence refrained, and dialogue subtle. Combined with inspired casting, Inglorious Basterds is audacious, egregiously inaccurate, and wonderfully entertaining.

As Lt. Basterd Aldo Raines Brad Pitt is simply inspired—brilliant with is Appalachian twang and Eastwood swagger. Oscar winner Christoph Waltz as SS Col. Hans Landa is equally fascinating. Waltz commands every scene with smarmy theatrical energy and obnoxious self confidence.

Typical of Tarantino there are WTF moments including David Bowie’s Gasoline and Heinz Steiglitz’s introduction but these patches of random don’t quite reach the silliness of his previous fare. I loved the nod to French cinema and the use of foreign languages becomes an event onto itself. The opening sequence is by far my favorite and is quite misleading of what is to come.

As I see it, Inglorious Basterds stands alongside Reservoir Dogs as my favorite QT films. Strong dialogue and brilliant casting make it work. The success herein is thanks to Tarantino’s strong dialogue and brilliant casting. One doesn’t know whether to laugh, cheer, or run for the exits. But you will be entertained.

2012 (2009)

The end of the world comes complete with amazing special effects and topped with a delicious side of corn.

The Twilight Saga: New Moon (2009)

New Moon isn’t high art and with that in mind you can enjoy the teenage melodrama found in Forks. The love triangle grows more complicated as Bella and her abnormal beaus—one vampire, one werewolf—figures out who they actually are.  You know the story...

There are countless issues including, but not limited to:

• crazy laughable eyeball colors
• unbelievable pouting
• shirtless dude who is shirtless for no reason (just the way Jacob pulls his shirt off when Bella 'falls' off the bike had me in stitches--that camera angle is so money.)
• predicatability
• horrible scoring
• that waste of nearly five minutes while the camera moved around a stationary Bella to pass the time because the writers had a brain fart
• it could've been an awesome comedy
• Bella writhing on the bed with unexplained stomach pains (Who wanted a crazy vampire baby to pop-out?!  I did!) and nightmares
• her dad, the school, the town
• those other shirtless boys that are always in the distance and always pissy
• the unexplained cabin in the woods with the disfigured woman
• Vampire City
• Dakota Fanning
• stupid pop culture reference (see Grand Theft Auto)
• hair

Look, let's not drag this out like the movie did.  As I see it, New Moon deserves the adoration of the vapid and unfulfilled. It is what it is—a fantasy—and I shouldn’t begrudge anyone that, but I will make fun of you.

My Fair Lady (1964)

A classic musical that harkens to a day of lavish studio productions that left no detail to the imagination.  Audrey Hepburn is enchanting as Eliza Doolittle--a common flower girl turned society debutante by maddening no-nonsense Professor Henry Higgins (Rex Harrison).

British Favourites: Black Books (2000-2004)

The British do it better.

Black Books was a BBC series that centered around a used bookstore run by a chain-smoking curmudgeon played by Dylan Moran.

Antisocial doesn't even begin to describe Bernard Black (Moran).  In Series 1, we find as the proprietor of a used bookshop, Black is hardly welcoming. Content not to sell anything, but rather drink, smoke and engaged in witty reparte with Fran, the shop owner next door.  Sharp dialogue, sly sight gags and Manny the bumbling shop assistant.  Bernard manages to drink a bottle of wine that is promised to the Pope and get locked out of his shop after installing a new security system in the first episodes.

Series 2 continues in the same vein with more misanthropic mayhem.  The writing is a bit sturdier.  As Bernard, Dylan Moran is on par with Gervais and Brand in his ability to smirk with a straight face.  A heat wave sweeps London causing Fran (Tasmin Greig) to suffer from insomnia and Bernard gets an idea to reinvent the bookshop with hysterical results. The last episode of the series includes a holiday trip to Saint-Honore that shouldn't be missed.

Goliath Books comes to town in the final series.  Manny (Bill Bailey) bails and takes up a job with them because Bernard doesn't appreciate him.  As Bernard takes a turn for the worst, Fran sets out to reunite the odd couple.  But Manny loves his "doo-ti-to-doo" card too much.  Simon Pegg's turn as the uber-creepy manager of Goliath--is hysterical.

The chemistry found herein is spot-on.  Moran's hair alone is a reason to watch, but its the barage of sarcasm, wit, and dry humor that will keep you coming back.

Big (1988)

There’s something about Big that’s still charming despite its years. I think its Tom Hanks. He’s portrayal of a 13 year old boy in a 30 year old body is exceptional. Get past the dated feel of the movie and you will enjoy the look of innocence, fear, and confusion found herein as Josh (Hanks) acclimates to life as a man.

You know the story. His boyish soul helps him climb the corporate ladder in a toy company much to the chagrin of fellow workers. He meets a girl, has an amazing penthouse—everything he wanted as a boy, but somehow Josh finds himself longing for home.

As I see it, the fashion may be dated, but the theme of Big is timeless. A family must see!

Willow (1988)

Long before Frodo Baggins, there was Willow Ufgood (Warwick Davis). Charged with delivering a baby princess found drifting in the river, Willow must protect the baby from evil Queen Bavmorda with the help of Madmartigan (Val Kilmer). Adventure across the land waits as this motley crew sets out.

Willow is the brain child of writer/producer George Lucas and director Ron Howard. Need I say more? James Horner scores the fantasy tale that is reminiscent of well, just about everything Lucas ever touched. Sure the visual effects are dated, but that doesn’t detract from Willow’s charm. The dialogue is particularly fun.

As I see it, Willow is a charming if forgettable 80s flick. Not a must-see, as both Lucas and Howard have gone onward and upward.

Down with Love (2003)

Delightfully campy, Down with Love is a tribute to the zany romantic couple of my parent's youth, Rock and Doris. Renee Zelweger and Ewan MacGregor are the overly dramatic leads. She is a male-bashing author fed up with love. He is a swinging single man and star reporter for 'Know' who turns on some fine Texas drawl to turn the tables on her.

With fab sets and mod clothes, the movie is visually fun. The predictability of plot twists and reversals can really annoy, but if kept in context it's a fun flick. David Hyde Pierce as the neurotic mag editor is a hoot.

As I see it, Down with Love is a perfect homage to the time period with its double entrendre and double crossing.  Sure it was a time of clearly defined society roles and down right sexism, but it sure seems fun!

Død snø (2009)

A group of medical students head to the snowy town of Øksfjord for an Easter holiday. Their arrival is met with a history lesson and a warning: Nazis once occupied this town, abusing its residents. When the townspeople revolted, the Nazis fled to the hills--the very hills you now plan to camp on.

The kids are soon ambushed and a mad dash for survival ensues. Splitting up always signals the end. People die. Intestines fly. Blood spurts and heads squish. Good fun is had by all.

Dead Snow is a Norwegian zed offering whose fright is surprisingly atmospheric. It starts off dark with barely a hint of the insanity that follows. But we’re talking Nazi zombies here—guaranteed worth the wait.

The film's premise is simple. It’s filled with horror nods and clichés, but delivers the gore. Midway through Dead Snow takes on a humorous tone that underscores the most violent sequences (often set to awesome Norwegian techno-rock). Zed purists will take issue with the dismissal of core zombie tenets; however, the bloody climax which includes a machine gun laded snowmobile and a chainsaw is just hysterical. Perfect comedic timing=splat-tastic results.

As I see it, zombies come out of the box in this foreign flick making it all the better. Don’t let the idea of subtitles get in the way of seeing this. It’s got Nazi zombies!! Død snø is a must see for zombie aficionados.

Precious: Based on the Novel Push by Sapphire (2009)

It was only after the ballyhoo behind Precious that I considered viewing it. After suffering through this superficial drama I will call it what it is—a disappointment. Despite a film that contains a great cast, there is no resonance or depth of character.

Precious (Gabourey Sidibe) is an obese, very black high school student who abused by her vicious mother (Mo’Nique) and is pregnant for the second time by her father. How the girl copes isn’t entirely clear. This viewer is assuming the fantasy sequences are her escapism. As Precious tries to survive her poor self image and her surrounds, the viewer is left to determine how to respond to they see.

I responded with amazement that this film has been heralded. Precious is a one-trick pony; that trick is stereotypical. I don’t understand how anyone could find this anything but demeaning. The characters unfold here into caricatures of black people. And when the sympathy card is finally played, this viewer wanted to spit, not cry.

As I see it, Precious shocks but not in the way the director intends. I’m shocked this mess-terpiece was bankrolled by Oprah. Rape, incest, abuse, AIDS, poverty, welfare—all valid themes and not just in the black community—are shown here in a wash of Hollywood pseudo-ignorance peppered with hateful language. It’s disgusting.

Masterpiece Theatre: Cranford (2007)

 Cranford is a town resolute in its traditions. At the heart of the small town is group of women who are unwavering as the town becomes fraught with change.

This delightful BBC adaptation stars a delightful cast. Dame Judi Dench leads the way with the likes of Imelda Staunton, Eileen Atkins, Greg Wise and Michael Gambon close beside.

The production is a feast for the eyes and a blessing to the soul. Despite the myriad of disasters that occur to the inhabitants of Cranford—many at the doing of a certain gossip—Miss Pole (Staunton), the viewer is engaged and bemused by the goings-on. Societal taboos and classes are severely rendered and held to. The dependence on marrying well and other customs are represented. The lavish production is beautiful. With all the trimmings found at the local shops to the grime of poor Harry’s abode, no detail is spared.

Women are the fairer sex and men, well, are gentlemen in Cranford. As I see it, fans of Austen, Dickens or even Eliot will enjoy this adaptation of Elizabeth Gaskell’s period novels.

Bonus Feature: Book

Skippyjon Jones is the creation of children's author Judy Schachner.  If you've never had the pleasure of reading about a daydreaming Siamese kitten who imagines himself a Chihuahua named Skippito Friskito who is sweet like Jell-O then you (and your little ones) are missing out.

I had the pleasure just today with my dear nieces.  Much like Dr. Suess depends on cadence, so does Schachner.  Skippyjon and his adventures, of which his closet is the portal, are full of Spanish expressions and rhyme.

The illustrations are beautiful and though the some of the Spanish is hard to get the hang of the joy found herein should be shared.  Truly a beautiful must-read series!

Bonus Feature: CD

Since its release in January, this album has been in constant rotation. Thought it was time to share….

OK GO is back with another set of solid themes ranging from unavoidable consequences to things that, in retrospect, proved to be wrong. Throw in confusion and prescriptions for a better world and you have OK GO latest album, Of the Blue Colour of the Sky.

Guitarist/vocalist Damian Kulash delivers off-kilter pop-rock refrains convincingly without being obnoxiously indie or cloyingly emo. The quad seems to be in it for good time and each track here reinforces my personal mantra: ‘life sucks, but we might as well make the best of it.’

The album is feels fresh, but familiar. WTF sets the tone for the album.  The first single is slowly making its own fan base thanks to this video. This Too Shall Pass is in a strong race for favorite track. Its simple plea will resonate with the introspective set.

Skyscrapers’ bass lines are addictive and with Kulash’s breathy falsetto, well, it’s sexy cool. I Want You So Bad I Can’t Breathe and End Love contain Prince-esque elements that create a funky dance party. Last Leaf is a gentle acoustic love song that warms the soul. While You Were Asleep is simply brilliant.

Of the Blue Colour of the Sky (with its conceptual data lined album notes) is everything I love about OK GO…unassuming, experimental, quirky, and fun. These Chicagoans are enjoying the moment and make you want to, too.

Law Abiding Citizen (2009)

In this melodramatic thriller, Gerard Butler and Jamie Foxx square off as bitter father turned mass-murdered and pompous prosecutor, respectively.

Law Abiding Citizen manages to revolt and engage; but the late explanation of Clyde’s (Butler) psychosis and ultimate derangement is a letdown. The movie feels like a constant setup whose payoff is constantly denied. A smart viewer quickly deduces the uninspired death count and fast-forwards to the explanation.

As I see it, the best part of film was Grand Funk Railroad over the ending credits.