Live: Drive-By Truckers, the Dexateens - 5/10/08 at the 9:30 Club

Awesome show. Great, great show. Completely different from the night before. Amazing. Absolutely great.

The band opened with “That Man I Shot.” They played “Bob,” “Steve McQueen,” and “18 Wheels of Love” (!!!). DBT played “18 Wheels of Love” with the start-the-song story intact and then followed it up by concluding the story with the present-day tales of Chester and Patterson’s mother. DBT also played a righteous version of Alice Cooper’s “I’m Eighteen.”

They ended the set (before the mind-blowing encore) with a take on “Let There Be Rock” that was completely different from the night before. While the song was an emotional power-punch of a glorious rock’n'roll anthem on Friday night, Saturday transformed the song into a joyous celebration of a song. Shonna Tucker did not sing any songs for Saturday’s show.

Remember those Cadillacs that Patterson Hood parked in between without a scratch? Well, what made the performance of “Let There Be Rock” even more special was that the friend’s who’s parents owned those Cadillacs was at the show, in the VIP balcony above stage right. Even the man’s life-saving sister DD was there.

The biggest difference between Friday and Saturday’s shows was that there was more stage banter at Saturday’s show. Patterson gave a telling introduction to “Puttin’ People On The Moon” and he told of how he twisted his ankle on stage the night before. Plus, they played “18 Wheels of Love” (!!!).

Openers the Dexateens again rocked the house. It looked like most of the sold out show’s crowd showed up before DBT, in time to see some of the Dexateens, and the applause the band received was something close to uproarious. They did their Southern-tinged rock and played well. They too talked more than they did the night before, although the Dexateens’ setlist was basically the same.

Both bands reunited for another closeout jam in the encore, playing “Buttholeville,” “State Trooper,” (Bruce Springsteen) and “People Who Died” (Jim Carroll). (same as Friday)

These two nights have provided the most euphoric rock shows ever.

Thank you, Drive-By Truckers. Thank you.

- R.H.

Live: Drive-By Truckers, the Dexateens - 5/9/08 at the 9:30 Club

It’s f__kin’ great to be alive!!

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What a great, great show. The Truckers gave it their all. Every ounce of their energy for one of the best rock shows I have ever seen.

You can put the Drive-By Truckers into whatever country subgenre you want, but when it comes down to it, they are just pure rock ‘n’ roll. They are, without a doubt, one of the best present-day rock bands in America, if not the world. Heck, they’re even better than some old classic rockers. These guys are good.

“Baby every bone in my body’s gone to jumping/like they’re gonna come through my skin/If they could get along without the rest of me, it wouldn’t matter if they did,” sang Mike Cooley on “A Ghost To Most,” one of the many great tracks on 2008’s superb Brighter Than Creation’s Dark. The set list spanned their entire career and contained hit after hit. Brighter Than Creation’s Dark is such a charming record, that songs off of it were often highlights. But every song was a highlight tonight.

When Cooley finished playing “Checkout Time In Vegas,” (from BTCD) the band then played the three following songs on the record straight afterward. “You And Your Crystal Meth” was brilliant and even darker live. “Goode’s Field Road” proved just why it’s an excellent song, and everyone already knew that “A Ghost To Most” is a classic.

As the Drive-By Truckers played, it was hard for me to see any effect pedals on the stage for their guitars. Then I realized, they don’t need any pedals. The only effect they need is “Southern Fried.”

I did see some pedals toward the back of the stage, but they were scarce and that was just fine. The guitars were in fine, fine form.

Touring member on the keys, John Neff on pedal steel and a third guitar, Brad Morgan on drums, Patterson Hood on guitar and vocals, Mike Cooley on guitar and vocals, and Shonna Tucker played bass with an endearing enthusiasm. Shonna sang one song during the show, her best one off the last record, “I’m Sorry Huston.”

Morgan is a very talented drummer. This was obvious right away with rockin’ opener “Puttin’ People On the Moon.”

The Truckers put so much energy out on the stage. I don’t know how they can top it tonight (as in the tenth) (two dates at the 9:30 Club this time around, the ninth and tenth of May). I’m sure they will, but last night was pure rock awesomeness. Great setlist, great energy, great, great rock music. I really cannot use the word “great” enough. Or the word “rock.”

DBT classic “Let There Be Rock” had a shining moment as the third to last song in the righteous encore. The best song I have ever seen performed live. Absolutely amazing.

And the final rock-out jam of the encore had DBT pull openers the Dexateens (who played a well-received and joyously country-rockin’ set to start the late night off (doors at 9)) back on stage (along with another guitarist friend) to play “Buttholeville” and whatever other song I could not tell by ear (thanks to the mass of instruments pervading the sound system) (the vocals were inaudible at this point. Throughout the night, the vocals were hard to hear in the club). It wasn’t pure rock fury. It was pure rock soul.

The musicians traded swigs from the Jack Daniels bottle all bitter and clean, and the show ended with one hell of bang. Patterson Hood lying on the stage, 10 other people playing music around him. And then he popped up for another round of soul revealin’ rock.

Great show. Great band.

- R.H.

Live: Tapes’n'Tapes, White Denim - 4/23/08 at the 9:30 Club

Openers White Denim were energetic, fun, and interesting.

Tapes’n'Tapes were dull’n'dumb.

Not really too dumb, but it was definitely one of the more boring shows I have ever been to. They are not very good live performers. No encore. Not captivating. Very, very limited audience interaction (from the band) (basically none at all). The bass was good, but man, was it loud (blame it on the 9:30 Club, whose sound system always manages to mess up at least one aspect of the live sound. Tonight there were multiple maladies…). The vocals and guitar were very hard to hear. Many, if not all, of the songs sounded the same. Not many people looked too into it. It was alright. Really not that great.

But you need shows like this to bring you back down. Not every show is going to be amazing.

White Denim were really terrific, though. A lot of fun. (Barely anyone was there to see them, however.)

Tapes’n'Tapes…not so much.

- R.H.

Live: Dead Meadow, Ancient Sky - 4/16/08 at Black Cat Backstage

Dead Meadow at the Black Cat, backstage. With Ancient Sky.

The Red Room is a nice place. That’s where we wait before former local (D.C.) band Dead Meadow put on their show at the tiny backstage venue of the Black Cat.

The backstage is very intimate and small and comfortable and the sound system is pretty great. We get right up next to the stage.

Brooklyn (by way of Richmond, VA and surrounding towns) rockers Ancient Sky set up and play. The band plays some type of stoner-ish psychedelic rock. The have a guitarist/singer; a bassist; a drummer; and a man on horns, keys, noise, and other assorted sound-making devices (all musically based). They are a good band and I was excited to see them.

They played with a controlled gusto. The bassist was a bit too into just his instrument but the singer/guitarist worked well, as did the other players. As performers they reminded me of a subdued (in fierce, rockin’ energy) Howlin’ Rain. The singer’s passionate yelps also recalled My Morning Jacket’s Jim James, as weird as that sounds. Ancient Sky sounds nothing like either of those two bands. But the vocal performance is definitely reminiscent of that of live Howlin’ Rain (a great live band).

Ancient Sky played their experimental rock and it was terrific. A superb performance from an up-and-coming (they just finished recording their debut album in D.C.) band with solid songs. Ancient Sky is indeed a band to watch.

Dead Meadow came on. Guitarist/singer, drummer, bassist. They were awesome. A very slow melt of the face. They completely blew me away. They played a great show.

Admittedly, the three-piece has a strong catalogue, but it’s littered with songs that sound the same. That showed during the show, when I thought one song was being played but then they actually played that song later in the night. This happened several times. Oh, well.

Guitarist Jason Simon’s vocals are obscured and hard-to-hear on their records. Same goes for their live shows. But did the lyrics really matter when the music was this great?

Bassist Steve Kille did some jumping and played well. Drummer Stephen McCarty showcased his strong playing. Jason’s solos and the band’s jams that extended the songs well past the pop-music minute mark made for an awesome spectacle. Just pure rock ‘n’ roll in a great, small venue.

The crowd interacted well with the band and there were some really dedicated fans in the audience. Before Dead Meadow began their encore, they brought one of the audience members on stage. He had some kind of connection with the band (his uncle or something…). In the words of a 21st Century Camus: It was funny. It was cool.

Steve told the onstage fan to introduce the band as “Black Mountain.” That got some laughs. (Has anyone listened to “Angels,” from Black Mountain’s latest, In The Future? Sounds similar to Dead Meadow’s “At Her Open Door,” from Feathers) After the show, Steve explained that the band was friends with Black Mountain and that they were “really nice guys” (the L.A. transplants and the Canadians have toured together).

The encore continued the pleasurable face-melting. Mind, this was not face-melting in the “I’m gonna rock your socks off” vein or pure rock fury vein, but the “Oh my gosh, this is pretty dang awesome. Mind-blowing even. What good music” vein.

Dead Meadow rocked. Plain and simple.

A great show.

- R.H.

Notes About the Site

Hello Friendly Readers,

We here at Two Silenced Voices like music. Heck, you could even say we love music. Matter of fact, we’re passionate about music. So passionate that it easily distracts us from updating this blog 24/7.

And being passionate music lovers, we enjoy our share of live music. And, what the heck, we might as well report on some of the concerts that we go to. So today begins the chronicling of our live music ventures. We probably will not report on every show we see and we may not report too often, but every once in awhile, expect a review/recap of a show. These ‘reviews’ might not be entirely strict music journalism reviews, but they might be peppered with unique-to-blog insights about the crowd, the personal adventure to get to the venue, etc.

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Don’t be afraid to go back to posts. Sometimes, Vman will write a post and sometime later, I will contribute to that post. It’s like a two-for-one deal. Pretty great, no? You’ve just got to be sure to check back and see if the post has been updated. Same goes for me when I post, and then Vman contributes. Get twice the perspective at double the bargain!

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On April 13, 2008 Two Silenced Voices reached 1,000 views! Thank you! We apologize for the only-so-often posting, but we hope you enjoy what you find!

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Thank you for reading.

- R.H.

Live: The Boredoms, Soft Circle, Black Pus - 4/3/08 at the 9:30 Club

This may be a month late. But here it is.

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The Bordeoms are one of the weirdest bands you might ever see live. Not really too weird, but their shows are as interesting as any other show you’ve seen. They’re just so…different.

While the Boredoms may not make the greatest music or put on the greatest show in the live setting, their live performances are so different from the typical rock show: don’t pass up an opportunity to see them.

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We arrive at the venue a little past the 7:30 time of doors being open. I thought the show would be sold out by doors. Nope. Buy tickets and head inside.

- On a side note: Why does the 9:30 Club (Nightclub 9:30 for those concerned with details) box office charge a service charge on advance tickets? At the box office. This makes absolutely no sense and is completely ridiculous. Day-of-show tickets have no service charge, but advance tickets at the venue box office carry a one dollar service charge per ticket. That’s not a lot, no, but the reason I buy tickets at the box office of a venue is to avoid service charges. The lady selling the tickets said, “We use their envelopes and their system, we’ve gotta charge.” Wow. Makes a lot of sense. And I thought Ticketmaster was cruel. (9:30 Club uses tickets.com) -

Black Pus

Black Pus gets on stage in a little corner at the front of the stage, stage left. Black Pus gets settled at his drum kit and puts on a mask that houses a microphone (for hands free vocal stuff). The mask is frightening. And his music doesn’t ease the tension.

We go upstairs to check out the show from a different perspective. The second level was probably the best choice for the Boredoms show considering the stage set up. (more on that later)

Black Pus pounds on his kit while making noises with his vocal chords. The man (Black Pus is just one guy on the drums, with extra effects) using feedback like a madman. Black Pus, who used to/still does drum for Lightning Bolt, also takes time out to perform the most bizarre air guitar solos you will ever pay witness to. He vocalizes weird noises while pretending to play guitar (thus, air guitar).

He continues to bash away on the drums while forcing out loud noises no shoegazer can attest to. He proves to be a talented drummer. For me, his performance was loud, intense, and overall, kind of scary. Black Pus makes noise music. It’s clear to see why he’s on this bill.

Soft Circle

Next up, Soft Circle. Soft Circle is also one man and his drums. This time though, the man has a microphone via headset (no scary mask to be found in this set), a guitar, a single electronic drum that provides a variety of effects, and one heck of a looper.

Soft Circle taps out a beat on the electronic drum. Loops it. Taps out another beat. Loops it. Plays a few notes on the guitar. Loops it. Drums a new rhythm. Repeat.

That was Soft Circle’s process for each song. But it was good. The songs were relatively different each time. His second song started with a beat that could’ve been that of Radiohead’s “15 Step,” if your ears blinked.

Soft Circle was nice to have between Black Pus and the Boredoms because he provided a lull. His music is not nearly as intense as the other two acts on the bill.

I moved to the beat with Soft Circle’s music. As opposed to Black Pus, Soft Circle actually had music with a melody and all that good stuff. The kind of technical stuff considered frivolous at a show like tonight. My immediate feeling was, “That was great.” Not great as in grand, or innovative, but great as in, “Hey! I enjoyed that!”

Concert companions complained that Soft Circle was a bad drummer. At least compared to Black Pus. I agree with that essentially, but Soft Circle had some good beats and good music. It’s a good sign when music makes you move, and that’s what the music of Soft Circle did. Some of his songs did sound a bit the same, though. Good set, overall.

As they crew finalizes the stage set up for the Boredoms, I take a look around. The first thing I noticed when I entered the club tonight was that I was way out-hipped (not that that’s at all hard to do). This was the most bohemian crowd I have ever been around at a show. One of the inspirations for going upstairs to watch the show was the fact that as Black Pus started, one guy already had run into me. Okay…why so aggressive so early? The crowd was definitely hip to the max.

Boredoms

The stage has three drum sets, a keyboard, a big ‘ol bass drum, the “sevena” (a seven neck guitar), what appears to be a synthesizer and some other electronic music equipment. Two drum sets face away from the audience. Longtime Boredoms member Yoshimi (sound familiar?) will have her back to the audience while drumming, but will turn around to focus on the keyboard.

The lights in the venue darken. After a little wait, three drummers, dreadlocked leader Eye, some guy working electronics, and the-guy-who-picks-up-drum-sticks-and-that-kind-of-thing appear on stage.

Eye is holding these two light bulb-like things that he moves and it creates the image that he’s making some feedback-crazy, electronic sound with them. The light’s probably don’t make any noise, but Eye moves convincingly. He also screams. The whole effect ends up looking like he’s trying to live out some kind of “Dragonball Z” fantasy. It’s cool, though. He looks like a superhero (albeit, a deranged one).

And thus (the) Boredoms begin their set. They do not play songs from their records. They play noise music. And huge songs that’ll confuse you if you try to keep track (with anything). It feels like the Boredoms play a kind of improvised “jam,” but it seems clear that some parts are rehearsed. The drums are wonderfully coordinated and Eye takes his time to scream things in babble-language and perhaps Japanese. Eye does electronic things, as does some guy in the back.

Eye bangs the sevena with some huge rods, reverberating notes wherever he wants. Pure noise fury.

At some points, the sevena sounds pretty coordinated, almost like Eye is playing out a scale as he plays the giant guitar with drumsticks.

They pause. It looks like the Boredoms have played their first song! That only took over half the set! Cool! The band begins its second and final song of the main set.

Yoshimi sings nicely and plays some keyboard. The two other drummers continue to bash away with much skill. Eye continues his screaming and other shenanigans, among them, banging on the standing bass drum.

Some of the audience members on the floor dance in frightening fashion. I was worried 9:30 employees would have to go in there and take some kids out because of seizure troubles. It was that erratic kind of violent dancing/moving.

Much of the crowd stood still and looked on at the band. Some did the normal head movements and foot taps, while those previously mentioned jiggled around the crowded floor without care for the people surrounding them.

The Boredoms’ show is quite hard to describe musically. Noise rock. Psych-noise-experimental, etc. They play noise music. They bash away. They drum. Fury. Fun. They scream. Feedback. Noise.

But just how unique their show is is not something to miss out on. They are far different from the typical rock show, so go and see them for the interesting experience that it is. Good music, but tough music.

The Boredoms end the set with (from what I can tell) their second song of the night. They say ‘thank you and goodnight.’

Expectedly, an encore is asked for. But this is the weakest encore applause I have ever heard. Everyone is so tired and drained from the hour-plus of chaos the Boredoms have played. Most of the nearly sold out crowd stays and claps softly, if at all. There’s clapping, but so little. People are just expecting an encore. They’re all tired.

The Boredoms do indeed come back out for some more madness. Their third and final song of the night.

They bash away again. It’s fun and interesting, but tiring. They’re a good band. They play for a long time. That about wraps it up.

The Boredoms say thank you once more and exit the stage. We leave the venue after a very interesting night of wild, experimental music.

- R.H.

P.S. It’s rumored that the Boredoms will repeat their “77Boardrum” experiment this year with 88 drummers (probably on August 8th, no?). Last year the Japanese noise heroes played beside the Hudson River in New York with 77 drummers on July 7. Reportedly, it was epic.

Cool.

Recap: Best Of 2007

If you haven’t noticed, it’s unlikely we will post any more detailed, comprehensive, elaborate posts about the media that appeared in 2007. But there’s this post. Which is slightly comprehensive (at least on the music side of things).

Fourteen Autumns and Fifteen Winters by the Twilight Sad is the best album of 2007. Original, new, brilliant, meaningful, emotional, real, great. Great live performers, as well. Nice people, too.

The Diving Bell and the Butterfly is probably the best 2007 film I have seen. It is the most enjoyable film of the year.

Some of my favorite tracks of 2007 include (there are some covers here):

• “Furwinked The Lion/Bear Song” by Tereu Tereu, from Feline Ambition
• “Ed Is A Portal” by Akron/Family, from Love Is Simple
• “City Of Echoes” by Pelican, from City Of Echoes
• “The Opposite of Hallelujah” by Jens Lekman, from Night Falls Over Kortedala
• “We’re All From Barcelona” by I’m From Barcelona, from Let Me Introduce My Friends
  
• “I Love The Unknown” by Eef Barzelay, from the Rocket Science motion picture soundtrack
• “Grizzly Jive” by Georgie James, from Play
• “Pretty in Pink” by The National, from their Daytrotter Session
• “Pinklon” and “Ethiopians” by the Mountain Goats, from their Daytrotter Session at SXSW
  
• “Pom Pom” by Matthew Dear, from Asa Breed
  
• “Daughter” by Loudon Wainwright III, from Strange Weirdos…
• “Conqueror” by Jesu, from Conqueror
• “Skinny Love” by Bon Iver, from For Emma, Forever Ago
• “Brand New Kind Of Actress” by Jason Isbell, from Sirens Of The Ditch
• “Statues” by Foo Fighters, from Echoes, Silence, Patience & Grace
• “I Was Zapped By The Lucky Super Rainbow” by The Flaming Lips, from Good Luck Chuck Soundtrack
• “In Our Talons” by Bowerbirds, from Hymns For A Dark Horse
• “Not A Problem” by Black Lips, from Los Valientes del Mundo Nuevo

And of course, the standard indie rock singles were all nice and fine:

• “The Underdog” by Spoon, from Ga Ga Ga Ga Ga
• “Keep The Car Running” and “Neon Bible” by Arcade Fire, from Neon Bible
  
• “Thrash Unreal” by Against Me!, from New Wave
  
• “Dashboard” by Modest Mouse, from We Were Dead Before the Ship Even Sank
  
• “D.A.N.C.E.” by Justice, from † (yes, it’s a catchy song)

Some of my favorite albums of 2007 include (key track/s. If no key tracks that means the album is really, really good.):

• Let’s Stay Friends by Les Savy Fav
• A Place To Bury Strangers by A Place To Bury Strangers
• In Rainbows by Radiohead
• Armchair Apocrypha by Andrew Bird
• Challengers by The New Pornographers ( “My Rights Versus Yours,” “Myriad Harbour”)
• Sing the Greys (2006) by Frightened Rabbit ( “Be Less Rude,” “The Greys”)
• Era Vulgaris by Queens of the Stone Age ( “Turnin’ On The Screw,” “I’m Designer,” “Misfit Love,” “3’s & 7’s”)
• Places by Georgie James ( “Cake Parade,” “Need Your Needs”)
• Casually Smashed To Pieces by the Six Parts Seven ( “Falling Over Evening” <great, great song)
• From Beale Street To Oblivion by Clutch ( “You Can’t Stop Progress,” “When Vegans Attack”)
• Graduation by Kanye West ( “Can’t Tell Me Nothing,” “Stronger”)
• Mirrored by Battles
• It’s Not How Far You Fall, It’s The Way You Land by Soulsavers ( “Revival,” “Paper Money,” “Kingdoms Of Rain”)
• In Our Nature by José González

Notable Albums of 2007 include (they range from good/okay to excellent):

• Friend Opportunity by Deerhoof ( “+81,” “Believe E.S.P.”)
• Holy F**k by Holy F**k
• Nothing Is Underrated by Joe Lally
• Myth Takes by !!! ( “Must Be The Moon,” “Heart Of Hearts”)
• HEALTH by HEALTH
• U.F.O.s At The Zoo - The Legendary Concert In Oklahoma City by The Flaming Lips
• VI by The F**king Champs
• All of a Sudden I Miss Everyone by Explosions In The Sky
• Legendary Demo by Clouds
• Play Drums + Bass by C.O.C.O.
• Here Come The Waterworks by Big Business
• Adrian Orange & Her Friends by Adrian Orange & Her Friends
• Good Bad Not Evil by Black Lips
• The Last Days of Rome by Snog
• Harmonic Tremors by Zozobra
• Tears of the Valedictorian by Frog Eyes

- R.H.

April Fools’ Day: ‘Trilla’ by Rick Ross (Greatest Album of All Time)

Rick Ross once said, “My presence is my presence.” One of the most intelligent quotes a cool person can make. And Ross is right again, proving all haters wrong with the release of his second solo album, Trilla. His magnum opus is, without a doubt, the best album that has been and ever will be released in the 2000s, perhaps the 21st century. Certainly, it is the greatest album of all time.

The rhymes are tight and the beats are heavy as we traverse thug life/luxury livin’ with Ross, a master of the studio.

It is worth mentioning that Rick Ross is also known as Rick Ro$$. This man has authentic street cred.

As I listen to the honeysuckle wrapped beats of “This Is The Life” (featuring flute mastermind Trey Songz) I analysis the heartbreakingly beautiful lyrics of Ross. The “yeahs” float around like celestial dust settling after a supernova. Beautiful, beautiful.

And a couple of tracks down the line, TSV hero Jay-Z appears. “Maybach Music” is inspired by its namesake (Bach) and its renditions of his classical repertoire are astoundingly touching. It’s official: I have not been this moved since Jennifer Garner’s performance in Juno.

Jay-Z turns in his part well, but yet, he cannot out-rhyme the master. With Trilla, Ross has surpassed his apprentices, achieving a height not seen in Hip-Hop since Hell Rell’s genre-spanning collaboration with the girls from Evanescence.

“DJ Khaled Interlude” is definitely the best track of this exquisite record, though. The guitar parts aren’t just mailed in from Ross. They are nailed in. That’s how good this guy is. Khaled gives a boring performance on the track, but Ro$$’s presence eliminates any of the listener’s worry. It is his presence, after all.

Released on March 11, 2008, Trilla is the only album I have come across that actually deserves the italics. It is a stellar piece of art that will have lithograph artists in tears over the amount of requests they’ll have for reproduction of the album cover.

The cover is the one thing I take offense to with Trilla. It has a “Parental Advisory” sticker. The man is just expressing himself. He needs words like “[expletive]” and “[expletive]” to get across the positive message of being able to own multiple Rolexes. Or maybe Ross will stop and wax on the days in his youth when he dealt with a dirty inner city life, cleaning pools at the YMCA. The youth needs to hear his words, as they are truth and they are real.

Listening to Trilla can have two positive effects on the youth that listens. It can either prepare them for the evils and dangers of gang life, or alternatively, for the thrills and luxuries of life as a rap mogul who signs incredibly talented “singers” time and time again to various recording arts labels found in America and beyond.

So fine readers, rest assured, Ross is an up-and-coming star who will BLOW UP on the scene in the coming months or years. He is a force to be reckoned with and no one can deny his formidable talent.

Two Silenced Voices gives this album a rating of “Perfect.”

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Happy April Fools’ Day.

We do not think Trilla is the greatest album of all time. In fact, we’re pretty sure it is one of the worst pieces of recorded audio to ever debut on the marketplace.

We do not recommend Trilla or any other works by Mr. Ro$$.

Review: In Bruges

In Bruges is one of the most seriously misunderstood and underrated movies in recent memory. Other critics have blasted its misogynistic, racist and xenophobic undertones. What these critics fail to realize is that this is a movie about two Irish hitmen lying low in Bruges,Belgium after a job. The movie, written and directed by Martin McDonagh, carries hints of the Mr.McDonagh’s time in the theater. He reverses the eternal Hollywood axiom of “show don’t tell” and instead chooses to tell in highly stylized dialogue that is at times sinister, funny and oddly moving.

The humor in this movie always comes at someone’s expense and is frequently of the black variety. Well meaning people are often beaten, mocked or even shot. Nobody gets away safely from the verbal guns of Mr.McDonagh. While all of this might sound like criticism, it is actually praise. What critics have forgotten is that this is a movie about hitmen, people who have rejected traditional social mores and morality. Therefore, all the amorality, hedonism and nihilism exhibited by the movie’s protagonist Ray (Colin Farrell) is completely justified and refreshingly accurate. Ray’s partner is played with touching restraint Brendan Gleeson. Gleeson, in one of the movie’s cleverer conceits, is a far better hitman than Ray yet possesses a far larger conscience and much more integrity.

Their boss, Harry, is Ralph Fiennes doing what Ralph Fiennes does best, playing a pyschopath. Not to reveal too much of the plot but there is a fair amount of violence that is again justified since this is a movie about hitmen. It is very easy to be outraged by In Bruges and it is much harder to see the streak of old fashioned Catholic morality running beneath the surface, appearing only at the movies bloody end. I highly recommend In Bruges just for spectacle of Colin Farrell not coasting and riffing with the dexterity of stand up comedian. McDonagh is most certainly not much of a visual stylist and the soundtrack is mildly above average. Still, In Bruges is a very good film, not a classic but a dialogue heavy punch to the gut that definitely deserves a viewing or two.

-Vman

The Oscars are Tonight…

“It’s interesting to be nominated for Best Director, Best Editing, Best Cinematography and Best Screenplay, but not Best Picture. I don’t know what else you have to do to make a picture.”

- Julian Schnabel, director of The Diving Bell and the Butterfly. (In good humor he followed with, “But it’s all good . . .”)

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And some thoughts about the nominations…

Initially, I thought the Best Picture race might be confusing. (as in: tight race) But it looks like No Country For Old Men will have no problem winning that award. Was it the best film of 2007? No.

My thoughts initially: Tom Wilkinson over Javier Bardem. Now it looks like Bardem has this race locked. There are some Holbrook hopes, which are nice to see, but it’s unlikely anyone but Bardem will take home the award for best actor in a supporting role.

Initially and beyond: Honoring Elizabeth: The Golden Age? Are they crazy? At least slightly?

Initially: I am shocked that Schnabel got the nod for best director (good for him), but why did The Diving Bell & the Butterfly get no nod in the foreign film department? Now: I still believe the film should have received a nod for best foreign film (and how about 4 Months, 3 Weeks, & 2 Days?!?! Really! That is quite a tragedy. It actually has been confirmed for some time, but this year it is clear to see that the Academy is truly crazy.) and I can see why Schnabel was nominated (I did not think he did not deserve it. I just thought the Academy liked more obvious directors). It’s good to see the screenplay was nominated as well, because that definitely helped in the direction of this film.

Surf’s Up is one of the greatest accomplishments in animation for the year 2007? What?!

Daniel Day-Lewis needs to win Best Actor. He is a craftsman and the best part of There Will Be Blood. Why is In the Valley of Elah being honored here? The Darjeeling Limited was better than that (but that’s not even saying much because Limited was one of the brightest spots in the year 2007. Need I go more in depth…).

Initially: Best Director is tight as well. Now: Well, I guess it still is. In a way. At least between two films. Michael Clayton is not stylish or creative enough (in the directing department) to win and Juno is just…kind of a surprise (although both are good films). Diving Bell is worthy of the award, but it doesn’t look like it stands much of a chance. So it’s between No Country and Blood. Which is prettier to look at? Probably Blood. Which is better made? It’s probably about even. The industry folks say the Coen Brothers will win for No Country. Between the two, I like the feel Paul Thomas Anderson gave Blood. Even though it’s more likely his cinematographer and Day-Lewis gave it that feel. Oh well. Blood’s visuals are a little more creative than those of No Country. But between them, it is still close.

That’s all.

- R.H.

Review: 3:10 to Yuma

3:10 to Yuma has two of the finest actors in recent memory, Russell Crowe and Christian Bale bring an intellectual sang froid and a brooding intensity to their respective roles, both delivering Oscar worthy performances. Sadly, this movie does not deserve lead performances of such caliber. Apparently, nobody showed up to work aside from Crowe and Bale as they are both hindered by a overbearing, shallow script and equally overbearing and shallow directing courtesy of James Mangold of Kate and Leopold fame.

Of course, genius does not come easy and it is unwise to expect it from 2nd rate Hollywood directors like Mangold. Christian Bale and Russell Crowe are clearly geniuses. Bale plays the role of Dan Evans, a struggling rancher with both shocking intensity and genuine warmth. Crowe plays Ben Wade, the notoriously successful criminal that Dan Evans must escort to the 3:10 train to Yuma prison to save his ranch and his family. Crowe is magnificent as he hints at a man who understands humanity perfectly, playing those around him perfectly to get what he wants, while being detached from petty human morals and values. Crowe’s performance, along with Daniel Day Lewis’ turn as Daniel Plainview in There Will Be Blood, combined with Ian McShane’s brilliant Al Swearengen in HBO’s Deadwood have created a new, thoroughly enthralling archetype, the brutal yet incredibly intelligent capitalistic Western anti hero.

Crowe and Bale dig into weightier themes than the rest of this movie has the audacity to tackle. Bale plays a man torn apart by the demands of society/morality and his love for his family/his simple way of life. Crowe’s Ben Wade is an almost god like figure, forever untouchable by mortals and law enforcement in particular, killing Indians, Pinkertons and as the audience discovers, whoever he damn well pleases with startling ease. He delivers Biblical proverbs and has a pistol called the hand of god, symbols that one should not miss. Crowe forges a tentative bond with Bale’s Evans, taking pity on a desperate man, recognizing that they are both shaped by pasts they’re trying to escape. It is nearly impossible not to see that this is very good acting.

Now that I have heaped much deserved praise on Bale and Crowe, I must now point out what separates this merely good movie from being a great movie. First, the supporting cast is just north of mediocre. I love Alan Tudyk just as much, if not more than the next guy. I adored his charm in both Firefly and Knocked Up. Casting him as a supposedly heartbreakingly earnest Doctor, however, was a terrible decision as Tudyk botches the one scene in the movie where he is required to actually act. Every single time Tudyk opens his mouth and attempts to inhabit a character so clearly wrong for him, one cannot help but wish Philip Seymour Hoffman was given the part.

The soundtrack is mediocre and serviceable. It simply lacks the inspiration of the classic soundtracks of the spaghetti western era. 3:10 to Yuma’s final, fatal flaw is the mise en scene or lack thereof. James Mangold is like the soundtrack, mediocre and serviceable. I could not help but wish Robert Zemeckis was given the reins to 3:10 to Yuma along with the Assassination of Jesse James. In fact, Mangold is probably the only thing stopping 3:10 to Yuma from riding on the bravura acting by Crowe and Bale to greatness.

Mangold’s cinematography expresses neither the haunting freedom nor the seething brutality of the west. It seems almost as if Crowe and Bale were told they were making a great movie and Mangold showed up to film a forgettable action movie, focused more on guns than characterization. I have nothing against Mangold personally. He helmed Walk the Line well enough and knew how to use Joaquin Phoenix’s Oscar winning performance to create the definitive portrait of Johnny Cash’s life. Still, as a lover of film, it upsets me that the great movie hidden inside 3:10 to Yuma must be buried by a merely mediocre director, poor supporting actors and an entirely forgettable soundtrack.

Onwards to totally unrelated notes. It is okay to package a great movie inside the guise of a typical western but when the guise becomes the movie itself, failure results. Next up is We Own the Night once it hits DVDs because it too, attempts to make a great movie wrapped in genre conventions. Is Christian Bale the next Russell Crowe? It sure seems like it, they’ve both managed the near impossible balance of the artistic versus the commercial. I really would recommend this film though, I’m sure the average viewer will not mind the lack of auteurism and just enjoy the damn thing.

-Vman

Review: There Will Be Blood

There was blood. And great, groundbreaking film making. Paul Thomas Anderson does not make movies, he makes symphonies, scoring themes and grand ideas with his characters and their stories. He is also the farthest thing from a typical Hollywood director, straying from both the lowest common denominator Michael Bay esque school of thinking and the quirky indie irony posse.

In fact, I am sure that almost every filmmaker in America wants what Paul Thomas Anderson has, the ability to make movies with final cut and relative independence with A list stars and constant funding. Anderson also draws fawning reviews and hyperbolic admiration. Award shows have not been especially kind to him but when he does not win, the institutions awarding the awards appear to be at fault and not him. All that being said, There Will Be Blood seemed destined for greatness from the start, especially since Daniel Day Lewis, a fine actor, whose amazing acting is commonly mistaken for overracting, would be the one anchoring Anderson’s loose adaptation of Upton Sinclair’s Oil.

The movie is concerned with the life and times of an oil man, Daniel Plainview (Daniel Day Lewis) in pre industrial America. The running time of around three hours might put off some but this movie is pure hypnosis. The performances, the incredible score by Jonny Greenwood, the trance like tracking shots and overall excellent cinematography all work harmoniously to form, you guessed it, a symphony. There Will Be Blood was destined for greatness and fully matched what filmgoers can expect when talent the level of Anderson and Lewis work together.

There are numerous standouts in Blood as well. Paul Dano forgoes his Little Miss Sunshine emo super quirky teenager past and thoroughly slips into the role of a preacher, Eli Sunday, who is possibly as deranged as the oilman, Plainview, that he rails against. Plainview’s son, whom he uses as a benign front for his dealings, also delivers an unusual amount of depth for a child actor, giving off a sense of ambiguity that’s apparent throughout the movie.

Now, we must discuss the ending. A large number of critics have hated it. I must say, however, that it was stunning and brilliant. It would have been a cruel joke to make a movie so singularly different and great as There Will Be Blood and top it off with a stock Hollywood ending. Instead, Anderson raises the volume of his symphony to delirious heights and delivers a flawless conclusion to a flawless picture.

Now to deviate from the script. It is not unfair to label this the next Citizen Kane, the film is an American epic much like Welles’ masterpeice. The entire film geek populace is on the lookout for Anderson’s next project, which hopefully will not take three years to make. How necessary is film school if he didn’t need it? Then again not everybody is a Paul Thomas Anderson. Where did he learn from and how did he become so technically proficient? That is the question.

-Vman

Review: The Diving Bell and the Butterfly

That was beautiful.

That was the resonating thought I had while the credits began to roll after Julian Schnabel’s French film, “The Diving Bell and the Butterfly;” based on Jean-Dominique Bauby’s memoir, Le Scaphandre et le papillon.

That was beautiful, as a beautiful metaphor and images are shown behind the French credits.

That was beautiful, as Joe Strummer’s (& The Mescaleros’) great, uplifting anthem of “Ramshackle Day Parade” plays. “Loving life…that is paradise.” So true, my man. So true. (R.I.P.)

And those beautiful French people…

The best foreign language film I have seen all year, “The Diving Bell and the Butterfly” excels at showing the human, and the inhuman (which is, after all, human).

About the paralysis and resulting hospital stay of Elle magazine editor Bauby, the film is just…splendid. To describe the story would be insufficient. The way “Diving Bell” is filmed is magnificent. To save you the surprise, I will not reveal the techniques screenwriter Ronald Harwood and Schnabel incorporate in the film to make it all the more real and mesmerizing (possibly head-ache inducing, but you’ll get it over it).

Some notes about the production of the film… Direction? Check. Script? Double-check. Acting? Oh, yes. The acting really is great. Visuals and scenery? Oh my goodness, yes. Usage of music? Triple-times-one-hundred check. The use of music in “Diving Bell” is quite amazing. The shattering guitars of the Edge set one convertible scene’s fast tone as U2 plays along. Tom Waits croons his type of croon during a revealing Father’s Day-on-the-beach scene. The last song of the credits also goes to Waits. As well: This film has opened my eyes to the major talents of the former leader of the legendary Clash. Joe Strummer: we really, really hardly knew ye. Let’s change that somehow. Listen to the man’s last records with his band the Mescaleros. So far, they have not disappointed. And I don’t expect them to. (Thank you Mr. Schanbel (or whoever picked out the music). But thanks for the terrific film as well.)

Astounding and beautiful film-making? An assured check.

This wonderful film is about living life and being human. Go see it.

- R.H.

Review: The Kite Runner

If you are human, have cognitive abilities, and a warm heart, you will love this movie.

It may help if you’ve read the book, too.

_________

I did read Khaled Hosseini’s wonderful, joyous, and sorrowful novel, The Kite Runner, before I saw Marc Forster’s film of the same name. David Benioff has done an excellent job of adapting the novel, taking direct quotes, and editing sections of the book to meld various events together (book adaptations cannot have every detail of the text).

The actors cast for the film do a terrific job; in particular, Homayoun Ershadi. Ershadi plays the main protagonist’s (Amir’s) father, Baba - a much-loved and respected Afghan gentleman. His courage and pride shine through as Ershadi plays the character to great effect.

All in all, the players behind this production come together to make the powerful novel a sad and wonderful film.

Nothing will be revealed of the plot. It truly is best if you know next to nothing about the series of events in the film or novel.

Now, in all fairness, my reading of the book affected my viewing of the film. I love the novel. It is a great story of family, friendship, and redemption. If you have ever longed for anything or understand/love/cherish/long for the dynamics of true friendship, your heart will most certainly break. Either that or it will mend. Both show the great power Hosseini brought to his debut novel. I could not help but think of how great the book is while watching the film. This, combined with the well-done movie, make it hard to contain tears. So don’t. The majority of this film should have you delivering the theater a rain cloud, but promise to bring along a rainbow.

Regardless of the book, the movie is good. As I mentioned before, the actors and the script have few flaws. The way Forster shows the kite flying scenes will have the wind flying at your face. Although the scenes are most likely 90% computer generated (Who knows nowadays, though?), those shots where Forster has us in the air, high above the land, chasing kites, represent the wondrous power of movie magic and visual effects.

Like the novel, the film gets a little weaker in its third act. But the film condenses the last third of the novel, to make the ending portion fit well into movie and work out to make us all happy-happy (or, hopeful-hopeful). (The last third of the novel really doesn’t take up a third of the film’s runtime, though. That’s a good thing.)

So, yes. My recommendation is to read the great book first. And then go see this moving and thoroughly enjoyable adaptation. The scenes with Amir and his friend Hassan as children are a true joy. “I admire your notion of fair odds, mister.”

- R.H.

2007 Movie Trailers

This will be brief and quick, and not full.

When I think of the movie trailers that advertised 2007 movies, three trailers/films come to mind.

‘American Gangster.’ This is obvious. Two huge movie stars and Jay-Z blaring in the background. Don’t forget the dramatic gun drop, though.

‘The Darjeeling Limited.’ One of the year’s quirkiest and best, Wes Anderson’s trip to India proved a success. And the trailer was great too. The three brothers concept. The Indian landscape. That scene were the train is “lost.” Jason Schwartzman asking his brothers if they could be friends in real life… (that is some great writing right there) And of course, all this was backed up by the Kinks. The lovely, and essentially undiscovered (’underappreciated’), Kinks. ‘Strangers’ was the song that instigated liftoff.

‘Juno.’ The film has been much raved about in these pages and for good reason. The trailer. I’m willing to say that the trailer is nearly iconic. Rainn Wilson being immortalized for a role that really takes up less than five minutes of reel in the film. The return (the rise, really) of the Moldy Peaches. The highlighting of Mott the Hoople, a band that will continue to confuse anyone and everyone who tries to investigate them. And the colors. And the fun graphic design. The glorious raves from critics nationwide. And that friendly, but edgy, PG-13 smacked on, right at the end.

These last two movies are indie movies. That’s what they are essentially. No ‘Spider-man 3′-like box office returns (although ‘Darjeeling’ did fairly well, not great, but well; and ‘Juno’ is doing terrific, and it has become the hottest movie of the day (”Those @#&*%^! high school kids think they can run our lives?!?”)), but lovability and colors. These trailers should have made you interested. Or maybe given you a smile and a good tune (the music was really key in all three of these trailers). ‘American Gangster’ is a big budget, big cast, Hollywood movie. The trailer for ‘American Gangster’ didn’t make you feel. It made you say, “Hey. That looks pretty good. Looks exciting.” And if you were lucky, you got a fuzzy, funny, joyous feeling in your stomach because of Jay-Z.

And even though you shouldn’t judge a book by its cover (…), the trailers almost predicted which films would be better than the others. Anyway. That’s a look at the (three) cinema trailers of 2007.

- R.H.