Movie Media: 101 Dalmations - DVD Trailer

This is a bona fide Disney classic. Period. There is no denying that, and the new Platinum Edition is sure to be a must have DVD, most of these releases are. Now, you are probably wondering why I am spotlighting this trailer. Let me tell you, the first fifty seconds are fantastic, they paint the film as a creepy thriller. I have no idea why it was cut like this, but it is really effective.

CD Review: Seven Witches - Deadly Sins

To say my exposure to Seven Witches music is limited would be an understatement. My only, and I mean only, experience with them is the Year of the Witch concert DVD that was released last year. It was a disk that impressed me, and I wanted to get some of their studio material, but never actually got around to it. You know how it is, with so many other artists waiting to be discovered as well as other interests and endeavors, it can be very difficult to keep up with everything that you want to. As a side note, I was introduced to the solos work of Witches' guitar maestro, Jack Frost, around the same time with Out in the Cold, another recording that impressed me. So, here we are, it is a year later and I find a new Seven Witches release waiting for me.

When I saw the band name, it was like a light went off in my head: I know that band! I eagerly loaded the CD into the player and pressed play. I was greeted by a crunchy mid-tempo guitar intro, accompanied by nice, evenly paced double bass drum before Alan Tecchio's voice came in and kicked the song off proper. The track is called "Deadly Sins," and it is the title track kicking off the band's sixth album, a concept album loosely based upon the seven deadly sins as described by Ghandhi.

Straight-up uncompromising metal is what Jack Frost and company deliver with this release. Looking around the net, I find that many were disappointed with the Witches' last release, 2005's Amped, but feel that this is a step in the right direction (to varying degrees, of course). I cannot make the comparison, not having heard Amped. However, I can speak to the quality of the tunes collected here.

If you want metal, and only metal, Deadly Sins will definitely be worth your time. There is no thrash, screamo, emo, hardcore, metalcore, black, death, or any other sub-classification at work here. All you get is metal that is a throwback to bands such as Judas Priest. Most of the cuts fall into the mid-tempo range, but when needed they are able to crank up the speed to satisfy that segment of the audience. Driving guitars, galloping riffs, strong drumming, soaring vocals, they have all the elements needed to succeed. However good they are as a pure metal act, they are not a combination to achieve mainstream popularity, and that is a shame.

Throughout the album, everyone who lays down a track proves their mettle by delivering first rate material. The leader is obviously Jack Frost, whose guitars scream and wail in between delivering head banging riffs that never become overly repetitive. He is closely followed by the drummer known only as Troll. His work behind the kit is exemplary, from his rapid fire double bass to inventive use of the rest of the kit, he always keeps the rhythm solid and never boring. The bass from Kevin Bolembach, and guests Joey Vera and Clint Arent, is strong, although it rarely takes center stage. Finally, the previously mentioned Alan Tecchio 's vocals are powerful, commanding and fits the surrounding players like a glove.

Besides the quality of the pure music, the lyrics are interesting, if you want to take the time to listen to them. I cannot claim to have taken the time to listen to them all that closely, but it is still clear that a lot of thought went into their writing. Taking on a topic such as Ghandhi's seven deadly sins is not an easy task, especially when commenting on them from within a musical genre that has been associated with sinful lifestyles over the years. I commend the band for attacking the topic head-on and not pulling any punches in doing so.

Bottomline. Looking for some new metal? Tired of all the sub-cat acts floating around? This would be a perfect destination. It may not be anything revolutionary, but it is exceptionally solid. Deadly Sins features strong performances from all involved, and just sounds great, particularly those guitars and drums.

Recommended.

My Oscar Predictions: 2008 Edition

Each year the Academy gathers and votes on the best films of the year. Sometimes they are right, sometimes they are wrong, and sometimes the best films aren't even nominated! Of course, awards in general are mere marketing tools. Yes, the nominated films are all worthy of being there (more or less), but whether or not they can be considered the best is purely subjective. By extension, anyone giving their choices for each ceremony are also subjective, but it is fun to make guesses, right? Anyway, as a lover of movies I would be remiss if I did not toss my hat in the ring. Read on to discover my choices of who will win, who I'd like to see win, and one choice for the ever-present "overlooked" category. The categories are in the same order as on the Oscar page, where all of the nominees are listed. Also, I have gone through all of the categories, even the ones I know nothing of the nominees and made some guesses, in the effort of completeness.

Performance by an actor in a leading role

• Will Win: Daniel Day-Lewis in There Will Be Blood (Paramount Vantage and Miramax)
• Who I'd Like: See above.
• Overlooked: Samuel L. Jackson in Black Snake Moan.
• Notes: There is not a single person who has given a performance better than Daniel-Day Lewis. He is simply captivating as the turn of the century oil man. Now, even without winning, Jackson needs to be recognized for his raw, emotional performance as a man looking for redemption.

Performance by an actor in a supporting role

• Will Win: Javier Bardem in "No Country for Old Men" (Miramax and Paramount Vantage)
• Who I'd Like: See above.
• Overlooked: Ben Foster in 3:10 to Yuma.
• Notes: Bardem deserves it, hands down. He gave us one of the best villains ever created. Foster does deserve notice, not just for his scene-stealing performance in Yuma, but for his creepy presence in the mediocre 30 Days of Night. This is a guy who has great things ahead of him.

Performance by an actress in a leading role

• Will Win: Julie Christie in "Away from Her" (Lionsgate)
• Who I'd Like: Ellen Page in "Juno" (A Mandate Pictures/Mr. Mudd Production)
• Overlooked: Christina Ricci in Black Snake Moan.
• Notes: Ricci gave a soul baring, (and physically baring) performance that left her open and raw to the world. Very good work that should be recognized. However, I am very much rooting for Ellen Page to pull the upset. As for the winner, it could be someone I haven't mentioned, it is a very open field.

Performance by an actress in a supporting role

• Will Win: Cate Blanchett in I'm Not There (The Weinstein Company)
• Who I'd Like: Amy Ryan in Gone Baby Gone (Miramax)
• Overlooked: Imelda Staunton in Harry Potter and the Order of the Phoenix.
• Notes: Generally, franchises get the shaft for acting awards, but in this case they should have made an exception. Staunton's performance was deliciously evil, I really hated her character, very effective. There are some rumblings for Ruby Dee, but I think the winner will be one of the two I have above.

Best animated feature film of the year

• Will Win: Ratatouille (Walt Disney): Brad Bird
• Who I'd Like: See above.
• Overlooked: Paprika.
• Notes: Without a doubt, the Brad Bird feature will take the top prize. Paprika is an excellent anime film from Satoshi Kon, definitely worth spending some time with. Beowulf could also be added to the overlooked.

Achievement in art direction

• Will Win: There Will Be Blood (Paramount Vantage and Miramax): Art Direction: Jack Fisk; Set Decoration: Jim Erickson
• Who I'd Like: Sweeney Todd The Demon Barber of Fleet Street (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount): Art Direction: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
• Overlooked: Across the Universe.
• Notes: I am not sure why I am picked Blood here, but my gut tells me it will take it home, although my heart is with the fantastic Sweeney. As for Universe? There is a lot of good work in there that deserves to be recognized.

Achievement in cinematography

• Will Win: There Will Be Blood (Paramount Vantage and Miramax): Robert Elswit
• Who I'd Like: No Country for Old Men (Miramax and Paramount Vantage): Roger Deakins
• Overlooked: American Gangster: Harris Savides
• Notes: I was a little lukewarm to Gangster, but it was beautifully shot. While it was overlooked, it would not have stood a chance against the ones that were nominated. I would be happy with either of the two above. I think Deakins may be hurt by dual nominations (he is also nominated for The Assassination of Jesse James by the Coward Robert Ford)

Achievement in costume design

• Will Win: Sweeney Todd The Demon Barber of Fleet Street (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount) Colleen Atwood
• Who I'd Like: See above.
• Overlooked: 300: Michael Wilkinson
• Notes: This is easily Sweeney's best shot at becoming an Oscar winner here, and I believe it will come out on top.

Achievement in directing

• Will Win: No Country for Old Men (Miramax and Paramount Vantage), Joel Coen and Ethan Coen
• Who I'd Like: See above, although Paul Thomas Anderson would be a very close second.
• Overlooked: Sweeney Todd: The Demon Barber of Fleet Street, Tim Burton
• Notes: My favorite film of the year's director was sorely overlooked. His work on the big screen musical was fabulous. Still, the Coen's did spectacular work, as did Anderson.

Best documentary feature

• Will Win: No End in Sight (Magnolia Pictures) A Representational Pictures Production: Charles Ferguson and Audrey Marrs
• Who I'd Like: Taxi to the Dark Side (THINKFilm) An X-Ray Production: Alex Gibney and Eva Orner
• Overlooked: King of Kong: A Fistful of Quarters.
• Notes: The only nominee I've seen is Sicko, and I do not think it will win. Yes, that makes my choices guesses. As for Kong, with all of the great word, I am very surprised it was not nominated.

Best documentary short subject

• Will Win: Freeheld A Lieutenant Films Production: Cynthia Wade and Vanessa Roth
• Notes: Just a guess, I haven't seen any of the nominees.

Achievement in film editing

• Will Win: No Country for Old Men (Miramax and Paramount Vantage) Roderick Jaynes
• Who I'd Like: The Bourne Ultimatum (Universal): Christopher Rouse
• Notes: That's right, no overlooked choice here. This will be No Country's night, but I would prefer the frenetic work of Bourne film.

Best foreign language film of the year

• Will Win: Beaufort Israel
• Overlooked: The Diving Bell and the Butterfly
• Overlooked: Four Months, Three Weeks, and Two Days
• Notes: Just a guess, I haven't seen any of the nominees. Same for the overlooked titles, I am surprised neither of these very well reviewed films did not make the cut. I am not sure they were even on the short list.

Achievement in makeup

• Will Win: Pirates of the Caribbean: At World's End (Walt Disney): Ve Neill and Martin Samuel
• Who I'd Like: See above.
• Overlooked: 300.
• Notes: Pirates had some very nice makeup work and deserves to take home the top prize. 300 had nice work as well. I am sad that this action-fest was so ignored.

Achievement in music written for motion pictures (Original score)

• Will Win: Atonement (Focus Features) Dario Marianelli
• Who I'd Like: Ratatouille (Walt Disney) Michael Giacchino
• Overlooked: There Will Be Blood. Jonny Greenwood
• Notes: The best score of the year was overlooked. This is a cruel miscarriage of justice. As for Atonement, I liked parts of the score and feel that it has the best chance of winning, although Giuacchino's work is most deserving of the nominees.

Achievement in music written for motion pictures (Original song)

• Will Win: "Falling Slowly" from "Once" (Fox Searchlight) Music and Lyric by Glen Hansard and: Marketa Irglova
• Who I'd Like: See above.
• Notes: I did not discover Once until DVD, and it is a beautiful film with fantastic music. I think it has a chance with Enchanted's three entries splitting their vote and costing them a win. Although, those songs were fun, too, and I would not be disappointed if one of them pulled out a win.

Best motion picture of the year

• Will Win: No Country for Old Men (Miramax and Paramount Vantage) A Scott Rudin/Mike Zoss Production: Scott Rudin, Ethan Coen and Joel Coen, Producers
• Who I'd Like: See above.
• Overlooked: Sweeney Todd: The Demon Barber of Fleet Street.
• Notes: Sweeney was my favorite film of the year, so I have to believe it was overlooked. That said, I have no problem with No Country, it was my number two and very well deserving of all the acclaim its gotten. Still, I would not count out There Will Be Blood or the dark horse, Juno, with a possible upset.

Best animated short film

• Will Win: I Met the Walrus A Kids & Explosions Production: Josh Raskin
• Notes: Just a guess, I haven't seen any of the nominees.

Best live action short film

• Will Win: Le Mozart des Pickpockets (The Mozart of Pickpockets) (Premium Films) A Karé Production: Philippe Pollet-Villard
• Notes: Just a guess, I haven't seen any of the nominees.

Achievement in sound editing

• Will Win: No Country for Old Men (Miramax and Paramount Vantage): Skip Lievsay
• Who I'd Like: There Will Be Blood (Paramount Vantage and Miramax): Christopher Scarabosio and Matthew Wood
• Who I'd Like: Transformers (DreamWorks and Paramount in association with Hasbro): Ethan Van der Ryn and Mike Hopkins
• Overlooked: The Mist.
• Notes: I know, I chose two I'd like to win plus an overlooked film, and I do like my pick to win. These films did great work with sound, this has been a good year for this category.

Achievement in sound mixing

• Will Win: No Country for Old Men (Miramax and Paramount Vantage): Skip Lievsay, Craig Berkey, Greg Orloff and Peter Kurland
• Who I'd Like: Transformers (DreamWorks and Paramount in association with Hasbro): Kevin O'Connell, Greg P. Russell and Peter J. Devlin
• Notes: The sounds in No Country were fantastic, the lack of score with the sounds of footsteps, and that silenced gun, what can I say but: Wow! Still, the work in Transformers cannot be denied, regardless of what you think of the movie. The crunching destruction, the sound of the transformations, excellent work.

Achievement in visual effects

• Will Win: Transformers (DreamWorks and Paramount in association with Hasbro): Scott Farrar, Scott Benza, Russell Earl and John Frazier
• Who I'd Like: See above.
• Overlooked: 300.
• Notes: While the third Pirates film looked great, what was achieved with the alien robots cannot be denied, you will believe that your car can turn into a big battling 'bot. 300 has made what may be the best use of the digital back lot yet, the whole movie was a special effect.

Adapted screenplay

• Will Win: No Country for Old Men (Miramax and Paramount Vantage), Written for the screen by Joel Coen & Ethan Coen
• Who I'd Like: See above.
• Overlooked: Zodiac, James Vanderbilt
• Notes: The Coen's wrote an excellent adaptation that deserves to win. However, the Zodiac script should have been included, it is epic in scope yet personal in nature. This is a film that was overlooked in many areas.

Original screenplay

• Will Win: Juno (A Mandate Pictures/Mr. Mudd Production), Written by Diablo Cody
• Who I'd Like: See above.
• Overlooked: Sweeney Todd: The Demon Barber of Fleet Street, Written by John Logan
• Notes: Yes, Sweeney was definitely overlooked, but the winner is and should be Diablo Cody. That screenplay really touched on something that rings true. Yes, the dialogue does not sound exactly real, but it feels very real.

That about wraps it up. Be sure to tune on Sunday 2/24 to see how poor my picks were!

New Movies and Box Office Predictions: Charlie Bartlett, Vantage Point, Witless Protection, Be Kind Rewind

Last weekend brought with it an interesting selection of films, all with the possibility of rising to the top. This week's selection is a little more spotty, with only one real contender to the top spot. As for the rest of the films, it will be interesting to see how they play out, as last week's films could suffer from poor word of mouth and fall of considerably. I don't think that will happen, at least not entirely. All I really want, this week or any week for that matter, are good, entertaining movies. What more can we truly ask for? Whether we get it or not....

Charlie Bartlett. (2008, 97 minutes, R, comedy, trailer) This is an odd looking film. I cannot help but feel there is a better title they could have gone with, Charlie Bartlett doesn't really roll off the tongue that well. It is notable, at this stage, for starring the young actor cast to be the new Chekhov in JJ Abrams' upcoming Star Trek film, Anton Yelchin. Another thing, as I watch the trailer, I get a strong Running With Scissors vibe, and that is a film I was not too keen on. Anyway, this film is about a disillusioned high school student who turns to doling out advice and medication to needy students. Joining Yelchin in the cast are Robert Downey Jr. and Hope Davis. Editor Jon Poll makes his directorial debut with a script by Gustin Nash.

Vantage Point. (2008, 90 minutes, PG-13, thriller, trailer) Here comes a thriller whose trailer has virtually taken over trailer reels all over the nation. It was nearly impossible to go to the movies in recent months and not be subjected this trailer and its infamous: "Stop!...Rewind that." line. Despite my weariness regarding the trailer, the film looks like it could be fun. It tells the story of an assassination attempt on the President and the witnesses who stories will reveal the truth. The stars include Dennis Quaid, Forrest Whitaker, Matthew Fox, Sigourney Weaver, and William Hurt.

Witless Protection. (2008, 97 minutes, PG-13, comedy, trailer) Does anything really need be said about this? It is becoming a case of diminishing returns. I found Health Inspector to be mildly amusing, Delta Farce to be absolutely awful, and I have drawn the line here. I declare that I will not see this in first run, unless someone fronts me the cash (then I'll see anything). Larry takes on the role of a sheriff who gets involved in the kidnapping of a star witness.

Be Kind, Rewind. (2008, 101 minutes, PG-13, comedy, trailer) I've been looking forward to this one. Michel Gondry is an interesting filmmaker with genuine vision, just witness the great Eternal Sunshine of the Spotless Mind. I do not believe this will rise that high, but it just looks like a lot of fun. Jack Black is magnetized and inadvertently erases all of the tapes in the rental shop where he works with Mos Def. In order to replenish the shelves, the two go about filming their own versions of popular films and become local heroes. I am really hoping to like this one.

AMC Best Picture Showcase. (2007, 12 hours, PG-13/R, drama/comedy) A friend of mine is taking advantage if this interesting idea. AMC theaters will be doing a marathon of the five Best Picture Oscar nominees on Saturday 2/23. The films are No Country for Old Men, Juno, There Will Be Blood, Michael Clayton, and Atonement. Not a bad deal if you ask me.

Also opening this week, but not near me:

• The Counterfeiters
• The Duchess of Langeaise
• The Signal

Box Office Predictions
Last week, I did a halfway decent job of placing the top films. I have a feeling that success will not successfully translate to this week. I think the releases that join the fray are a little more up in the air, behind Vantage Point, of course. The Dennis Quaid film will undoubtedly take the top spot, while incumbents Jumper and Spiderwick will track right behind. I think Be Kind, Rewind has the possibility of doing well in it's more limited release, while Larry the Cable Guy's new one will hopefully whither.

Here is how I think the top ten field will play out:

Rank	Title	Box Office
1	Vantage Point	$22 million
2	Jumper	$16 million
3	The Spiderwick Chronicles	$12 million
4	Step Up 2	$11 million
5	Definitely, Maybe	$8.5 million
6	Fool's Gold	$7 million
7	Be Kind, Rewind	$5.5 million
8	Charlie Bartlett	$4.5 million
9	Welcome Home Roscoe Jenkins	$4 million
10	Witless Protection	$4 million

CD Review: Bullet For My Valentine - Scream Aim Fire

I have to admit, this is my very first exposure to UK metalcore exports Bullet For My Valentine. It is not that I had not heard of them (I had), it is that I made a conscious decision not to listen to them. There, I said it. Go ahead and let me have it. Wait, let me try to explain myself first. First impressions are everything, and band names count for a lot in music. Bullet For My Valentine just sounded like another emo/screamo band name, and not being into that style (with some exceptions), I chose to skip over them and focus on bands that appeared more my style. With all of the music, movies, and television that I am into I often have to make snap decisions as to whether to spend the time on a given title/band. These guys started out on the losing end. So, I have not yet heard their debut, Poison, but I can now say I have listened to them. What do I think? That would be telling. Read on.

When the band's sophomore release, Scream Aim Fire, arrived in my mailbox I still had my doubts. Was I in for another Escape the Fate or Till We Die? I could only hope not. I honestly did not now what they sounded like and I approached my initial listen with trepidation.

I took the disk from its slipcase, taking a moment to admire the cover art. It isn't the best I have seen, but there is definitely something appealing about the image. It is a low-angle image of an old theater, the blank marquee is cracked, and there is a menacing sky overhead filled with circling birds. It gives off a "something bad happened here" vibe that is worthy of a first rate horror film. Okay, that gives a little bit of hope for what is captured on the shiny metallic disk.

With the CD finally in my computer's CD player, I was almost ready to give it a listen. First, I gave it a rip so I could put it on my music player of choice, the ubiquitous iPod. With that out of the way, my trembling mouse pointer clicked play, and I sat back believing I was ready for what was to come.

The title track opens up a speedy tom roll before a galloping guitar riff kicks in, so far, so good. Then the vocals and the song kicks into full gear. To my surprise there is no emo/screamo feel, rather I get the distinct impression of Iron Maiden crossed with Killswitch Engage, and while it is not nearly as good as either of the apparent inspirations, it is not bad at all. This is very much a metalcore band, and a skilled one at that.

The heavy/thrashy elements continue to drive forward into the second track, "Eye of the Storm." If anything, this song ramps up the speed and intensity, the guitars speed through chugging riffs, while the drums provide a constant speedy stream to keep everything surging forward. If anything, the vocals are the weakest element. Not to say he is bad, far from it, but they just stand out during the faster moments.

"Hearts Burst Into Fire" offers up a distinct change of pace. The furious pace of the preceding songs is slowed down and the vocals pick up for a song that is clearly designed for radio airplay. Not a bad thing, as he song is quite good, but it is a song that I could here getting regular airplay on the local pop station. The slow down does not last for long as "Waking the Demon" kicks in and does not let us forget that we are listening to a band with a strong metal base.

They even manage to toss in a couple power-ballad style tracks, led by the "Cemetery Gates"-esque "Say Goodnight." It may not reach the heights that bands past have with this type of song, but it is uplifting to hear a primarily metal act have the guts to play it to the hilt. Sure, it gets a bit heavy at the end, but that does not change what it is. The other ballad closes out the album, it goes by the name "Forever and Always," and reminds of the power ballad heyday with its guitar line and sing-along moments.

After giving Scream Aim Fire sink in a little, I am glad for my belated introduction to Bullet For My Valentine. Despite having a name that is not terribly appealing (I had a similar, more prolonged, reaction to Helloween), they turn out impressive music that is as much influenced by the classics of old as it is informed by the dominant styles of today. Yes, there is plenty to like here, even if you are a fan of more pure metal. No, you aren't likely to give up on the pure acts, but you may (will?) find some new elements to enhance your ongoing musical experience.

Perhaps you will like the vocal styles of Matt Tuck, or maybe the thrashy/corey (is that right?) guitar style of Tuck and Padge (that's right, just one name). Drummer Moose Thomas delivers plenty of driving, double bass beats to keep you happy and the songs surging, while Jay James backs it all up with his unobtrusive bass lines.

Bottomline. These guys fall squarely in the metalcore realm, bringing in a number of influences and molding them into an interesting mixture that may not put them at the top of the genre, but do make them very likable. They transcend the band name and deliver the goods in the form of heavy riffs and catchy songs.

Recommended.


Track Listing:
1 Scream Aim Fire (4:26)
2 Eye of the Storm (4:02)
3 Hearts Burst into Fire (4:57)
4 Waking the Demon (4:07)
5 Disappear (4:05)
6 Deliver Us from Evil (5:58)
7 Take It out on Me (5:52)
8 Say Goodnight (4:43)
9 End of Days (4:18)
10 Last to Know (3:17)
11 Forever and Always (6:46)

DVD Review: Casshern

What? Let me say it again: What? I have watched Casshern a few times, and while it is enjoyable, I cannot say with anything close to absolute certainty that I know what happened. That said, it is a highly entertaining ride that, if you take everything at face value, will definitely fill the bill if you are looking for a gorgeous looking journey into the beyond. That said, I have to assume that the film would have made more sense had we gotten the original cut. You see, like many films of Asian origin, this Japanese creation was chopped up and had some of its scenes reordered while a good 24 minutes worth of footage was left on the editing room floor. Why do things like this happen? I have no idea. I get the feeling that whenever a film comes across the ocean, the US based distributor assumes that they need to put their own stamp on it, even it sacrifices the original to the digital gods. Unfortunately, I have not seen the original version to make any worthwhile comparison.

As the film opens, it is the end of a long war between the Asian territories and Europa. Europa had sent a horde of robots after the Asian territory, but were ultimately defeated. This left a demolished, but victorious Asia cheering their fortune, but still battling leftover terrorist groups for control of outlying areas, such as Zone Seven that plays prominently in the film.

Meanwhile, Dr. Azuma is working on a project to extend life through the use of a newly discovered cell type called Neo-Cells. As he works on his project, his son, Tetsuya, a bright college-age student with a bright future, leaves his family and girlfriend, Luna, behind to go fight in the war. It is an act that Azuma believes to be out of spite due to the falling out the two have.

Azuma continues his experiments as we are treated to gritty and washed out scenes of the warzone Tetsuya is in. Before long Azuma's experiments bring about some success in the form of a vat filled with grown limbs. Coinciding with this moment is the death of Tetsuya, who is brought back home for burial. Now here is where things start to get strange.

Lightning strikes the research compound activates the limbs that come together to form mutants which rise out of the liquid and rush out into the night. Azuma then has the bright idea to put his son in the liquid, and so, Casshern is born.

What follows is a war between Azuma's superiors, the terrorists, and the mutants. You see, the mutants have dubbed themselves Neo-Sapiens and have charged themselves with the goal of wiping out humanity. The only thing between them and their goals is Tetsuya/Casshern.

That is the big picture, anymore and I will only confuse you and myself as I try to sort through everything that the film is trying to say, if anything. I may be thinking there is more to it than there really is. To get everything out of it, it almost requires multiple viewings as well as a search for the full, uncut version.

If anything, the film takes itself a bit too seriously. This over-dramatic base makes many of the scenes that are meant to be emotionally resonant are left feeling cold and clinical. To that end, I felt as if I was being kept at a distance rather than being invited into the created world.

As distanced and confused as I was, there is no denying that the movie takes you on trip through some gorgeous designs. Casshern was shot almost exclusively in a digital backlot, not unlike 300 and Sky Captain and the World of Tomorrow. Some of the effects are not exactly up to snuff with what we are used too, they are done with such energy and conviction that it is hard not to allow them a little bit of slack in this department.

Casshern is very much like an anime film brought to life (the story did begin as a 35 episode anime series in the 1970's). The action is over the top, almost to the level of being cartoony, but in a good way, one of the best sequences involves Casshern taking on the robot armies of the Neo-Sapiens, it throws you right into the battle.

As directed, written, and edited by Kazuaki Kiriya, Casshern has a lyrical, almost poetic, flow. The camera swirls, the sets are bathed in shadows, music is constantly swelling, and we are thrust into the midst of this digital world. Even when I could not quite tell what was happening, it was a marvel to experience.

Audio/Video. The DreamWorks DVD looks and sounds very good. There is plenty of detail hidden in the shadows, the color separation was strong, and there were no defects that I could detect. The 5.1 audio track is also strong with nothing to complain about. The only thing I did not like were the ugly player-generated subtitles which could not be turned off. I would have much rather had burned in subs, or at least the ones that not player generated.

Extras. Nothing. Not even a trailer for the film. This is a film that would have benefitted greatly from some bonus material. Perhaps a making of featurette, or something on the effects or the acting? A commentary woulf have been most welcome, but there is nothing else here.

Bottomline. An interesting exercise in eyecandy with an anti-war message that at times becomes too wrapped up in its seriousness to become truly great. Nevertheless, Casshern is an entertaining film and a highly ambitious project that tries very hard to reach lofty goals.

Mildly Recommended.

Movie Media: Street Kings - Poster, Trailer

Just what we need, another cop drama. Well, why not? I don't know, just felt like saying that. Street Kings actually looks pretty decent. It centers on a cop dealing with the loss of his wife who becomes implicated in the murder of another officer turns to the streets to follow leads and ends up questioning everyone's loyalties. The cast includes Keanu Reeves, Forest Whitaker, Hugh Laurie, Chris Evans, Common, and The Game. The creative team has a lot of experience in the genre with first time director David Ayers (writer: Harsh Times, Dark Blue, Training Day), and writers James Ellroy (LA Confidential, Dark Blue), Kurt Wimmer (The Recruit, Equilibrium), and first timer Jamie Moss. The trailer is pretty good, but the poster gives me a Ocean's X vibe.

Movie Media: CJ7 - Poster, Trailer

Stephen Chow is brilliant. Granted, I have only seen a few of his films, but that has been enough to convince me of his skills. The films I have seen are God of Cookery, Shaolin Soccer, and Kung Fu Hustle. This film turns his skills towards the family realm and sort of reminds me of that lame film from last year, The Last Mimzy. I can only hope that this is better. The trailer is fun. I have not seen any information regarding a US release yet, although there is English voiceover in the trailer.

CD Review: Walk Hard - The Dewey Cox Story Original Motion Picture Soundtrack

How do you go about making a worthwhile parody of a genre that needs a good spoofing? By playing it straight, that's how. That is exactly how Jake Kasdan and Judd Apatow approached Walk Hard: The Dewey Cox Story. It sets its sights squarely on the biopic, and the musician sub-category. Even more specifically it seems the base was the Johnny Cash biopic, Walk the Line. The creative team of Kasdan and Apatow crafted a film that is strong in its own rights while successfully pointing out the problems with the biopic as a genre. Rather than just copy scenes from successful films of the genre (like the Epic/Date Movies), they played it serious. The result is a movie that is a comedy, but the performers play as if in a serious film, thus highlighting the cliches and conventions that infect it like a cancer. The movie turns into something quite funny and successful. Granted, the comedy is not for everyone, but then again, what is? A big part of the movie is the music, music that is played as straight as the film is.

Before you can think of the humor contained within this soundtrack, you have to consider the overall quality of the songs and the music. It is an odd thing to think that the music is actually any good from a parody, but it is. Seriously, the music on this album may not be the most original but there is a certain level of quality and a distinct catchiness. It is hard not to like this music, even if the humor is not immediately apparent it has a way of getting into your head and taking hold. Before you know it, you will be humming along in spite of yourself.

There was a lot of effort put into the songs. Beyond injecting them with humor, which is really only evident on a couple of the tracks, the writers (including Marshall Crenshaw, Mike Viola, Dan Bern, Michael Andrews, and star John C. Reilley) worked hard at making the songs authentic. They went so far as to research language usage and instrument usage to make them have as authentic a feel as possible. Their work paid off. The songs sound as if they were plucked right out of the era they were seeking to replicate. This includes songs styled after the likes of Roy Orbison, Johnny Cash, and Bob Dylan, as well as psychedelic and disco eras.

Some of the songs lose a touch of their effectiveness when separated from the film, but for the most part they will take you back to moments of the film. Take, for example, "Take My Hand" which introduces Reilley playing a teenage Cox at a school talent show, or when Cox steps up as bandleader at a predominantly black club and sings "(Mama) You Gotta Love Your Negro Man." Also, how could you forget moments like the interview about Bob Dylan that gives us "Royal Jelly," or the genesis of "Walk Hard." Then there is the unforgettable double entendre laden duet with Darlene (played by the adorable Jenna Fischer), "Let's Duet," which is probably the most outright hilarious song on the album.

The lyrics tend towards the simplistic, but that is not a knock on them. They accurately reflect the simple and impressionable mind of Dewey Cox. He always latches onto whatever he most recently heard and sets out to make it his own in hie writing. Funny stuff.

Beyond the efforts of the writers, a good deal of credit should be given to John C. Reilley who does all of his own singing. He has a good voice and has a background in musical theater, not to mention being an Oscar nominee for his role in the musical Chicago. He sounds great on all of the songs and does a great job in the title role. It should also be mentioned that he even went on the road as Dewey Cox and did a full tour of these songs from coast to coast. Now what they need to do is release a Dewey concert DVD!

Bottomline. The movie is a blast, the music is a blast, and you really cannot go wrong with either one. The music is eminently listenable and catchy as all heck. Listen to it, love it, and recognize the musical genius that is Cox!

Highly Recommended.

CD Review: Juno - Music from the Motion Picture

Back in December, Juno arrived on the big screen with a tremendous amount of buzz. It, quite frankly, had a lot to live up to. The buzz was huge, and it could have gone either way once it arrived. On one hand people could flock to its wonderful characters and touching story or they could flee to National Treasure: Book of Secrets in an attempt to hide from the high quirk factor that some people seem to despise. Fox Searchlight Pictures made the right decision by giving it great television promotion as well as supporting it through a slow national roll out. In doing so it has garnered the moniker of "the little film that could," much like what they did with Little Miss Sunshine in 2005. In doing so, Juno has reached a wide audience and been nurtured to a box office gross that has passed $100 million (a first for the distributor). However, with all the talk of how good the screenplay and the performances are, one cannot forget the quality of the soundtrack. The album is definitely worth adding to your personal collection.

The music truly fits the quirkiness of Juno to a glove. That's right, if you are sensitive to quirk I would recommend thinking twice before attempting to work your way through the oft-times weird nineteen track collection. You know, in most other circumstances the songs here would have me running for the hills screaming for mercy. Yet, here I am writing about how much I enjoy it. Strange, huh?

Listening to these songs away from the big screen has made me think a little bit about how the use of music within a film can affect your enjoyment away from said film. Film has a way of infecting your mind and biasing it towards liking things that you would not normally be attracted to.

If you know anything about me, you will know that in addition to my love of the movie, I am a lover of metal and heavy music in general. Now, there is absolutely nothing on the Juno soundtrack that would qualify as heavy. Knowing that fact the next logical question would revolve around why ,or even how, a metal guy would find room in his heart to squeeze in the predominantly folky stylings found here?

The answer is pretty easy. The movie won me over, pure and simple. The movie is brilliant in the way it captures a very real setting in such a humorous manner. The characters feel real even when delivering absurd lines that are meant to be existential. Hand in hand with the sense of reality is a group of songs that perfectly fit the characters. This music sounds just like what you would expect the characters to listen to.

In this collection artists young and old rub elbows while practically screaming "Look! I'm Indie!", which is a weird thing to say considering that everything about these songs is understated and almost simple sounding. Among the artists you will find are Mott the Hoople, The Kinks, Buddy Holly, and Sonic Youth alongside the likes of Belle & Sebastian, Cat Power, The Moldy Peaches, and a healthy dose of solo songs from co-founder of The Moldy Peaches, Kimya Dawson.

Is it perfect? No, but it is pretty close. There are a few interlude-type tracks such as "My Rollercoaster" by Dawson and "Up the Spout" by Mateo Messina. Then there is the oddity called "Vampire" by Antsy Pants, I am not even sure what to think of that one. However, on the other side of the coin you get such gems as "All the Young Dudes" by Mott the Hoople and "A Well Respected Man" by The Kinks. Right alongside them are several new tracks such as "All I Want is You" by Barry Louis Polisar and "Loose Lips" by Kimya Dawson.

The album comes to a close with the sweet duet from the film by Ellen Page and Michael Cera as they perform The Moldy Peaches' song "Anyone Else But You." I cannot think of a finer way to bring the album to a close.

Highly Recommended.

Movie Media: Michael Bay FiOS Ad

Say what you will about Michael Bay, but this commercial is awesome. If nothing else it shows that Bay is not above poking a little fun at his image. Not to mention, no one else blows stuff up quite like he can. You know, I am not sure this commercial will ever get old, and I could care less about Verizon FiOS.

Box Office Update 2/15-2/17: Jumper Overtakes the Fool's

Jumper succeeded in jumping right to the head of the class in its first weekend out, handily topping all of the new and returning competition. It successfully fended off the advances of more "date-friendly" fare en route to a healthy $27.3 million opening weekend. Whether or not that will hold up next week is yet to be seen. Considering how non-plussed I was exiting the theater, I will be hard pressed to believe it will do all that well in week two. The movie, while not without its charms, is a scatter shot exercise in teen-centric action/sci-fi. It seemed to want to build up this epic battle with expansive internal continuity. The problem is that they failed to let the writers in on that idea and the end result was not all that successful. Perhaps if a sequel is green lit we will see what was supposed to happen here.

Following Jumper are a couple more new releases this weekend. First is The Spiderwick Chronicles, a child/young teen targeted fantasy based on a popular series of novels (aren't they all?). It seems to have modest aspirations, yet provides a very entertaining film that does not shy away from its darker moments, while also not dwelling on them. It stars Freddie Highmore in a dual role and is directed by Mark Waters. It's opening was just a bit stronger than Step Up 2, which bodes well, that and the fact that it is actually a good movie. I suspect this will fall quicker than the dancing movie, but I hope that it does well if for no other reason than it is a quality film.

The number three film is Step Up 2: The Streets, coming with a potent opening frame and proving that the dance genre has some good life in it (despite the lackluster showing of How She Move). It opened strong with near $19 million. I saw the film and can attest to the brainless fun it provides and can understand the popularity of this type of film despite not being their biggest proponent. I suspect that this will hold well over the next couple of weeks.

There is one other new release on the top ten this week, Definitely, Maybe lands at number five. I actually expected a stronger opening from the romantic comedy, especially considering we just passed Valentine's Day. I was wrong in thinking that, obviously. However, that does not change the fact that it is a very good romance, one that made this softy inexplicably get a little dusty in the theater. It provides the maturation of Van Wilder into a more bankable star, time will tell if this proves to be a stepping stone to the A list.

Among the returning films, Juno and The Bucket List are continuing to show some strong legs as they both suffered, once again, small percentage drops over their take from last year. Seeing Juno succeed the way it has is a wonderful thing to witness. It is an excellent film and deserves all of the attention and accolades that it has received.

Next week will see new competition from Be Kind, Rewind, Charlie Bartlett, Witless Protection, and the surefire number one film Vantage Point. If for no other reason than the carpet bombing of theaters and televisions across the country with its trailers and commercials. Sunday will also bring competition from the Oscar telecast.

Four movies dropped off the top ten this week: The Eye (11), There Will Be Blood (12), Rambo (13), and Meet the Spartans (16).

This Week	Last Week	Title	Wknd Gross	Overall	Week in release
1	N	Jumper	$27,354,808	$33,979,823	1
2	N	The Spiderwick Chronicles	$19,004,058	$21,379,938	1
3	N	Step Up 2: The Streets	$18,908,826	$25,509,286	1
4	1	Fool's Gold	$12,909,039	$41,863,726	2
5	N	Definitely, Maybe	$9,764,270	$12,883,475	1
6	2	Welcome Home Roscoe Jenkins	$8,497,715	$28,738,605	2
7	5	Juno	$4,612,741	$124,077,530	11
8	7	The Bucket List	$3,991,239	$80,970,961	8
9	3	Hannah Montana	$3,263,192	$58,390,754	3
10	6	27 Dresses	$3,200,024	$69,961,895	5

Box Office Predictions Recap
Surprisingly strong prediction week. Of course, these are only predictions on both ends of the spectrum, as final numbers aren't out yet, so there is still the possibility that I could be further off than meets the eye. This week features five correct placements. If the predicted grosses go along with the figures, even they would be pretty close to the actuals. I am surprised at just how close I got this week to the three day predictions. I guess we'll have to wait and see if the trend continues next week.

Here is how the field matched up:

Actual	Prediction	Title	Wknd Gross	Prediction
1	1	Jumper	$27,354,808	$25 million
5	2	Definitely, Maybe	$9,764,270	$18 million
2	3	The Spiderwick Chronicles	$19,004,058	$16 million
4	4	Fool's Gold	$12,909,039	$14 million
3	5	Step Up 2: The Streets	$18,908,826	$12 million
6	6	Welcome Home Roscoe Jenkins	$8,497,715	$9 million
7	7	Juno	$4,612,741	$4.5 million
10	8	27 Dresses	$3,200,024	$4 million
9	9	Hannah Montana	$3,263,192	$4 million
8	10	The Bucket List	$3,991,239	$3.5 million

Movie Media: Boarding Gate - Poster

Hmmm. Can't say this poster isn't intriguing! This Cannes 2007 selection tells the story of a woman in London who is having an affair with two men. One is a guy in the finance trade, the other, a hitman hired to kill him. Meanwhile, the hitman's wife is behind the scenes manipulating the players. Could be fun, or at least just a nice poster. Asia Argento co-stars with Michael Madsen, Carl Ng, and Kelly Lin. Oliver Assayas writes and directs.

DVD Pick of the Week: American Gangster

Welcome one, welcome all, welcome to the DVD Pick of the Week! The place where I play the ever congenial host, helping you dig through the piles of new releases each week. I will spotlight the worthy titles, as well as those you would do best to avoid at all costs, and even a few that seem to be rather curious. I have something new for you folks with this week's edition. I am going to try and play around with the format a little bit. Generally, I will start off with the week's top pick, followed by a series of other titles of interest. This week I have decided to try out a new format, where I fore-go with the opening spiel on the week's top pick and perhaps write a little bit more about each of the titles I have plucked from the current list of releases. What do you think? I am nothing if not receptive to your thoughts during this experiment.

American Gangster. I believe this would have to be considered the week's top release, although it is not without a little bit of controversy. It is being released on both standard DVD and Blu-Ray; however, the standard DVD will contain the theatrical release as well as a new extended cut that clocks in with eighteen minutes more footage in the film while the Blu-Ray will only contain the theatrical release. Needless to say, this is not going over to well with Blu-Ray owners, nor should it. I cannot see any reason to hold back the longer cut except for a future hi def double dip.

As for the film itself? I thought it to be a very good, if not great gangster film. It is sort of like a distilled version of Scorsese or DePalma. It is led by a pair of strong performances from Oscar winners Denzel Washington and Russell Crowe. My biggest problem with the film is that it seems to glorify crime and also barely scratching the surface of the story. I feel that there could have been a lot more done with it. Still, it is well worth your time and is good film. Next week Ruby Dee will vie for the supporting actress Oscar for her performance here.

Michael Clayton. Here is another film that I thought was very good although not great. George Clooney does give what may be the finest performance of his career, albeit in a film that does not seem to be completely up to the task of supporting him. It is strange, as the performances, all around, are quote good, but the story does not seem to be terribly strong. Michael Clayton is much more of an actors piece than a narrative one.

It is the story of a cleaner (Clooney) working for a powerful law firm who is called in when one of the big guns (Tom Wilkinson) has a breakdown. It is during his work here that the cleaner discovers that he has a choice, that things are not as they seem and he can help make things right.

Next week the film will compete for a number of Oscars, including Best Picture, Best Actor, Best Supporting Actor, Best Supporting Actress, and Best Director.

Lust, Caution. I never had the opportunity to see this film theatrically, although I look forward to catching up with it on DVD. It is the latest from director Ang Lee who has helped shepherd it to the big screen in uncut fashion, thus sparking a bit of controversy. You see, the film contains some explicit sex scenes and Lee was urged to at least cut them back for an R rating, but he stuck to his guns and the film was released in its original NC-17 rated format, although it was cut for airing in mainland China.

It is the story of a young woman (Tang Wei) who becomes involved in a conspiracy involving a powerful politician in WWII era Shanghai. From the clips I saw, the film looks absolutely beautiful and has an excellent score from Alexandre Desplat.

It was nominated for, but lost, the Best Foreign Language Golden Globe. It is being released in both NC-17 and R rated versions.

In the Valley of Elah. This film had a rather lukewarm reception when it was released last Fall. It is one of the numerous films throughout the season that dealt with the ongoing war in Iraq. It is a subject that many people do not wish to see on the big screen yet, if ever. So, when films started coming out, it was akin to picking a scab. In other words, not a pleasant experience.

The movie is based on actual events of a soldier being murdered upon his return from overseas and his father who investigated the murder, thus turning up some uncomfortable questions. I found the movie to be quite good as it brought up the question of whether or not we are doing all that we can for our soldiers.

Tommy Lee Jones is nominated for the Best Actor Oscar, in a surprising to me choice. I do not believe he will be able to wrest the award from Daniel Day-Lewis, but it is good to see his excellent work recognized.

Rendition. Here is another war-themed film that tanked at the box office. It's content was also unsavory to a large portion of the population who are not interested in seeing these themes played out in a fictional setting while the real thing is still ongoing.

It tackles the policy of Extraordinary Rendition, which allows the government to disappear individuals of interest to locations outside of official jurisdiction where they can be tortured for information. In this case, Reese Witherspoon's character's Egyptian born husband. He is tortured under the auspices of Jake Gyllenhall and a rather ruthless torture professional.

I cannot say it is a good film, and the issues seem to be oversimplified, but could be worth a rental.

Kurt Cobain: About a Son. This could definitely prove interesting. I have no first hand knowledge of the film, but there is no denying the subject is an intriguing individual who has garnered considerable interest in the years since his untimely demise.

Director AJ Schnack has put together this documentary with taped recordings and interviews with Kurt Cobain covering his lifetime. Essentially, you get to listen to him tell his own life story. Frankly, this sounds rather interesting, as well as something you do not often see.

Margot at the Wedding. Nicole Kidman, Jennifer Jason Leigh, and Jack Black star in Noah Baumbach's latest film. His last outing was 2005's Oscar nominated The Squid and the Whale. This time he turns his eye on a pair of sisters whose lives become torn open and exposed to the world when Kidman and her son pay Leigh a visit following the news of her engagement to Jack Black.

I thought the trailers for this were interesting, although I never had the opportunity to see it. Jack Black seemed like an interesting cast choice. I look forward to catching it on DVD.

Redacted. This is a film I am not sure I want to see. It is yet another war-themed film (a lot coming out in one week, don't you think?). This one is from Brian DePalma and, like many of his past films has rendered a pretty strong line between lovers and haters.

It was shot in such a way to make you think you are actually watching it through camcorder and security footage It concerns itself with real events such as a rape conducted by American soldiers.

Frankly, I think this may be the one that I am the most not interested in of the recent slate of war films.

Chaos. This action/thriller was shot back in 2005, and I believe this is its first release anywhere. I don't think it was ever given a theatrical release, and we all know what that means. There is a reason why it was deemed to be a direct to video, or very limited theatrical run, film.

It stars Jason Statham, Ryan Phillipe, and Wesley Snipes. The first two are a couple of detectives investigating a bank robbery which leads them to Snipes. Outside of that, I do not know much about the film other than it involves Chaos Theory in some fashion.

German Expressionism Collection. This set, from Kino, contains four classics of German Expressionism in restored forms: The Hands of Orlac. The Cabinet of Dr. Caligari, Secrets of a Soul, Warning Shadows.

How can you go wrong with that? Especially when I only know one of the films in it (Caligari). These old films are good examples of what you could do with low budgets and a lot of creativity.

Spiral. From the director of Hatchet comes this new journey into horror. This could prove interesting as the gore of Hatchet gives way to more psychological horror in Spiral. The former proved to be a fun journey into the bayou, with plenty of gratuitous gore and nudity.

The new film concerns a disturbed telemarketer and can count Chuck's Zachary Levi, Mr. Brooks' Amber Tamblyn, and Battlestar Galactica's Tricia Helfer among the cast.

Zebraman. Takashi Miike's latest creation to arrive on American shores is a family outing. If nothing else, this prolific director always provides something interesting to watch (just check out the decidedly non-family friendly films such as Audition, Fudoh, Visitor Q, and Ichii the Killer).

This film concerns a teacher who is a failure at all that he does who turns to canceled television show Zebraman for inspiration. He makes his own costume and goes to the streets to fight crime.

I don't know about you, but I am definitely intrigued!

Well, that about wraps up this week's edition of DVD Pick of the Week. Be sure to let me know what you think of the new(potential) format!

Movie Review: Step Up 2 - The Streets

Hmm. Is it Step Up 2: The Streets or Step Up 2 the Streets? I have seen it displayed both ways, and they both make sense. If I had to choose one, it would be the former. For one thing, it is closer to proper English, so far as titles go. Personally, I don't care for movies, or at least their titles, where they attempt to appear "hip" and "cool," trying to look more relatable to the youth of the nation. In either case, the end results are the same, a movie that is sort on story and high on dancing action.

As for my thoughts on said movie? Well, I should start by saying that my experience with this genre of film is somewhat limited. This means I have not seen Stomp the Yard, Save the Last Dance, You Got Served, Roll Bounce, or even Breakin' 2: Electric Boogaloo. Yes, that would include the original Step Up, and most of whatever other dance movies you can think of. I have seen Take the Lead, although that seems more a part of the "inspirational teacher" genre than dance. Now, I am not completely baseless in entering the theater for this film, last month I saw How She Move, a lower budget dance flick that turned out to be quite enjoyable. It was far from a great film, but I liked how it used dancing as a means to an end and not as an end in itself. It was a little gritty and the story was not terribly deep, but it was good for what it was. Now, Step Up 2: The Streets is a completely different matter.

Essentially, Step Up 2 is a musical. That's right, a musical. The moments of dialogue and exposition are only in place to move you from one dance sequence to the next. Now, this is not a bad thing, and it is not meant to disparage musicals. That is the last thing that I would want to do, musicals are just another genre that have their ups and downs (for the record my top film from 2007 was a musical, one of two in my top ten). This would land closer to the southern end of the film quality chart, but there is no denying the fun that it certainly contains.

This is not a movie you are going to watch for plot. If you are watching it for the plot, I am sorry and hope you choose better the next time out. The only reason to watch this film, the only reason for its existence is to showcase the dancing skills of its cast. Let me tell you, those skills are considerable.

Let's get the plot out of the way right up front. Andie (Briana Evigan) is a talented dancer and member of a street dance crew (we learn this in a particularly stunning subway performance). She also happens to be orphaned and living with her deceased mother's best friend, a situation she is none to pleased with. She is constantly acting out against her guardian, staying out all night, skipping school, and the like. Fed up with her insubordination, her guardian vows to ship her off to her aunt's in Texas. This leads to Andie's final act of defiance, she runs away. It doesn't last long as she runs into the star of the first film, Tyler (Channing Tatum), who convinces her via dance-off to join his alma mater and put her skills and energy to more focused youth.

Andie's arrival at the school sets up the film's primary conflicts. The first is attempting to fit in somewhere she obviously does not belong. The second concerns her getting a crew to The Streets, an underground competition to crown the best of the best. What follows are your standard high school problems with the popular boy, his on again/off again girlfriend, and befriending the school's outcasts. Nothing special, nothing exciting, and nothing fresh.

What the plot does do is link up in pretty regular fashion, the dance sequences, which are something to behold. I have read those questioning whether or not any wires or special effects were used to achieve these physics defying moves. I come down on the side of believing they were actually done without wires. It is hard to believe that it is done naturally, but not entirely. Anyway, the dances get more and more impressive leading up to the rain soaked climax, hinted at in the trailer. What makes these sequences work so well is the way they were shot. Not only are the performers incredibly talented at what they do, but director Jon M. Chu and cinematographer Max Malkin do a fine job of providing a dynamic camera that stands back enough to let us see everything, while also intimate enough not to lose track of our characters.

Yes, the dancing is spectacular, but there is one more element needed to sell the drama. How are the acting performances? There is nothing that will win awards here, and fortunately none of it needs to. All of the actors do a fine job of playing their roles. They are all likable enough, once you get past the pretty faces, and it is easy to buy them in these roles, as thin as they are. Now, let me tell you, you may not want to get past the pretty faces. Briana Evigan has quite the adorable screen presence, and the final dance sequence? Easily one of the hottest things to grace the screen in some time.

Bottomline. Beyond all reaon, I enjoyed this movie. The plot is predictable, the acting is nothing special, but the dancing is a lot of fun and everything ties together nicely. So, if you are looking for some cinematic fun that requires little thinking, give this a spin. You may find yourself pleasantly surprised.

Recommended.

Movie Review: The Spiderwick Chronicles

Last year Freddie Highmore starred in a film where he moves into an old relatives house in a remote location only to discover a magical world hidden all around him. In order to save his family, and unravel a mystery, he must journey into this hidden world and uncover its secrets. This year Freddie Highmore starred in a film where he moves into an old relatives house in a remote location only to discover a magical world hidden all around him. In order to save his family, and unravel a mystery, he must journey into this hidden world and uncover its secrets. Want to know the difference? One of them is actually magical and tells an involving story, while the other is just a narrative mess that goes nowhere and is less than interesting. The unsuccessful film was called Arthur and the Invisibles, while the successful one is the current matter of discussion, The Spiderwick Chronicles.

The Spiderwick Chronicles, from Nickelodeon Pictures, is based upon a series of novels from Tony DiTerlizzi and Holly Black. It is a family-friendly fantasy that combines the coming of age elements found in films like last year's Bridge to Terabithia, with the fantasy sprung to life from the pages of a book aesthetic of films like The NeverEnding Story, while not feeling like a copy of either. Quite a feat in this day and age where everything seems to be a copy of everything else.

The film opens with the Grace family moving into the Spiderwick estate. It is a creepy rundown home in the middle of nowhere, and the only refuge for Helen Grace (Mary-Louise Parker) and her three children following a split with her husband. Besides the uprooting of the family, this change in locale and lifestyle is having an effect on the kids, twins Simon and Jared (Freddie Highmore in a dual role), and older sister Mallory (Sarah Bolger). Simon has become a pacifist and Mallory is attempting to be mature beyond her years, and then there is Jared.

Jared is taking the move very hard, and in turn is acting out. He is causing trouble while waiting for his father to come and take him back home. He is in the most need of some sort of help. However, help does not seem to be in the offing, that is until he discovers a hidden room in the house, which contains a book with a warning not to read it. Of course, no one is going to observe such a warning, much less a young boy looking to break a few rules.

The book is Arthur Spiderwick's Field Guide. It is the culmination of a life's work, all of the knowledge about the magical creatures that live in the area around the house. No sooner does Jared crack the seal the book that he begins to see things and learn just what is going on here and just how important the book and its warning was.

Jared, along with his brother and sister, finds himself in the middle of a battle to protect the book from the evil ogre Mulgarath (Nick Nolte). It is a battle that will test their resolve and forC them to come to terms with themselves and what they are capable of.

I am happy to report that while it is not perfect, The Spiderwick Chronicles tells an interesting story that has a distinct conclusion, is very entertaining, contains a healthy dose of childlike wonder, and delivers some genuine surprises along the way.

Director Mark Waters, having already left a mark on the tween-targeted cinema with Mean Girls and Freaky Friday, has turned his attentions towards family fantasy and proceeded to knock his first go-around out of the park. While this is, essentially, a kids film it does not pull its punches when it comes to showing the scary stuff. In short, The Spiderwick Chronicles is not sanitized for your protection, nor is it gratuitous. It is a film that does not shy away from the dark places the story takes you, and Waters is willing to let the film go to these places that bring the nightmares. At the same time, it is hopeful and empowering as the trio of heroes have to use everything at their disposal to outwit the creatures outside.

The screenplay from Karey Kirkpatrick (Over the Hedge), David Berenbaum (Elf), and John Sayles (Oscar nominee for Lone Star and Passion Fish) is a good piece of work. It mixes strong human drama with the fantastic in near perfect balance. I have not read the source to know how close they kept to it, but what I was hearing on the way out of the theater is that it did stray from the book, but that the kids still really enjoyed seeing it brought to life. In the end, isn't that the goal that was being sought?

The performances are also quite good, although there is one thing that I found mildly distracting. The Grace family is clearly American, but Jared/Simon have something of a hushed British accent. It was not too bad as the rest of the performance was spot on, I just don't think that Freddie Highmore can adequately cover his natural accent. Still, he is a very good young actor who hits the right notes of defiance, fright, and determination. As for the rest of the cast, they all do quite well in selling the fantasy.

What can I say? This movie really worked. The story holds together, the effects were more than adequate, and I was truly drawn into the story. I was held at attention as the wonders of the world revealed themselves to the audience and the characters. I was there when they ran from the goblins, when they first saw qhat they were up against, when their mother wouldn't believe them, as the answers slowly revealed themselves, and everything in between.

Bottomline. If you are looking for a thrilling ride that the whole family can go to, this is going to be for you. It is magical, thrilling, scary, funny, and whatever else you want to feel. It was, honestly, as big a surprise to me as Terabithia was last year, movies that target youngsters, but don't treat them like idiots. It is always a joy to discover a film that knows its audience and writes to their strengths.

Highly Recommended.

Movie Review: Definitely, Maybe

In this day and age it is rare to find a romantic film that has the least bit of originality. It is like there is no desire to make any attempt at pushing the boundaries of genre conventions. More often, studios are content to toe the line, churning out lame, predictable romantic comedy after lame, predictable romantic comedy. That is what makes Definitely, Maybe a breath of fresh air. No, it isn't the most original creation, nor is it likely to have any real and lasting mark on the genre, but that does nothing to dampen the enjoyment that can be gleaned from the film. It is even more refreshing in the wake of such "gems" as Over Her Dead Body and 27 Dresses (which was fun, but truly bought into genre clichés).

Definitely, Maybe is not a movie that requires any deep thinking, but at the same time it does not insult the audience. On top of that, I actually found the love story mystery set up to be rather effective. Perhaps I am getting a little soft in my old age, but this movie really got to me, and I have to admit to getting a little dusty as we got towards the climax. I truly did get caught up in the mystery, the loves, and lives of the players involved.

We begin with the introduction of William Hayes (Ryan Reynolds). He is an ad executive whose favorite days of the week are those that he gets to pick up his daughter, Maya (Abigail Breslin), from school. However, this day is different from all the others. You see, before he can go pick her up, he receives papers that will finalize his pending divorce. The adventure continues when he learns that she received a day of sex ed. This class combined with his pending divorce has given Maya some questions. She questions the concept of love in her father's life, and believes that if he tells her about how they met, discussing the facts will uncover reason to keep the marriage alive. So begins the journey into Will's love history, with names changed forcing Maya to guess who her mother is.

It is a little weird, relating the story of your past loves to your young daughter, but it is a conceit I am willing to go along with, particularly when the end result is as good as this is. Anyway, Maya settles in with her pillows and stuffed animals as Will takes us back in time, all the way to 1992. It was that year that he left his college sweetheart, Emily (Elizabeth Banks), behind in Wisconsin to go to New York and work for Bill Clinton's presidential campaign. It is in New York that he meets Emily's college roommate, Summer Hartley (Rachel Weisz), and campaign copy girl April Hoffman (Isla Fisher).

Now which one will it be? Who is Maya's mother? Surprisingly, I was not sure until the moment it was revealed. I am sure that if I wanted to I could have predicted who the mystery woman was. However, the point is that the story did not give it away too early, the story was compelling enough not to make me want to guess. I was so into the film that I had no desire in trying to race Maya to the finish and make the guess.

Sure, Definitely, Maybe is not a perfect movie and the story is certainly sanitized for the in-movie audience, but it still has a pleasantly organic flow to the way the relationships grow and develop. It is not like each character Will encounters he immediately falls in love with. As Will says to Maya: "It's complicated." That's true, life and love are complicated, they are never as simple as they are generally portrayed in films and television. In this sense, Definitely, Maybe allows its characters to have lives and not be completely tied to one another.

The performances are all quite good, with Isla Fisher being the biggest standout. Ryan Reynolds is affable enough in the lead. Could this be the next step to the A list? Perhaps, but I am not holding my breath. Abigail Breslin is fine in her Fred Savage in The Princess Bride-type role.

The heart and soul is truly contained within the three women in Will's life. Elizabeth Banks, Rachel Weisz, and Isla Fisher all bring a different heat to the screen. Each one brings a different element to the screen, each offering something new to Will's life. For my money, it is Isla Fisher who delivers the most captivating performance of the trio. The relationship just hits at a different level and really connected with me.

Writer/director Adam Brooks does a fine job of creating a compelling tale that avoids the expectations of the genre while still delivering a relatable experience to all. He has given us a film where there are no "bad guys," but where the inhabitants have their own desires and dreams which will converge and veer away from the others. It is well written and compelling. This is definitely a film that can be at the very least considered to join the upper ranks of moder romcoms.

Bottomline. Much better than I was expecting. It could probably have gone a step or two further, but it is not completely necessary. Strong performances, good characters, and good writing carry this film to a successful conclusion that satisfactorily wraps everything up.

Recommended.

Movie Review: Jumper

Where The Bucket List was something of a travelogue for the geriatric set, Jumper is something of a travelogue for the teen set. That is pretty much what Jumper boils down to. Sure, it has a bit more action than the terminal cancer driven dramedy, but the end result is about the same. That result being disappointment. Something like Jumper could have, should have, been an exhilarating, thrill-a-minute ride. It turned out to be all set up with no pay-off. Not only that, but the build seemed to have been written by a first timer with no sense of pacing or logic. I don't mean to come off quite so cynical, but this could have been so much more than what it is. On the positive side, the effects are well done, and the look is suitably slick. To that end, I was not completely disappointed, if only for the potential it contains that can be re-written and filled in by your own ideas. I guess you could say that Jumper is a cinematic Mad-Lib.

Going in, Jumper was full of promise and wonder. It promised the world, on a modest budget. It presents an epic battle through time and space with the entire planet as its battleground. The plot description tells of a young man who discovers he has the ability to teleport. He uses this ability, at will, to rob banks and build a comfortable life of leisure for himself. The problem is that his using the ability puts him on the radar of a super-secret group, we learn are called Paladins, that is intent on separating our young hero from his life. And so, our hero finds himself in the midst of a war that has raged for ages, just out of view outside the rest of the world.

Sounds good doesn't it? Makes one wonder where it went so wrong. Was it on the writer's page? In the casting? The directing? I cannot believe that it was any one single element, rather a combination of each puzzle piece working in conjunction to craft the perfect storm of circumstance. I am finding it difficult to know how to go about discussing the film without getting dangerously close to spoiler territory, something I am not want to do.

The screenplay is from David S. Goyer (Batman Begins), Jim Uhls (Fight Club), and Simon Kinberg (X-Men 3: The Last Stand), based on a novel by Steven Gould. Was the problem here? I have not read the novel, so I am not sure how close an adaptation this is to say if the problems originated in the source. I will play it safe and say that the problems began in the adaptation, which is a shame as there is considerable talent on this front. The screenplay contains some poor dialogue and does not do anywhere near a good job of delivering any type of exposition. We learn very little of the bigger picture, nor of any personal connections. Whether or not this was a part of earlier script drafts, I do not know, but if there was any vision to the story, it did not make it to the shooting version.

Before shooting can begin a cast must be selected. For the most part, this cast works quite well. Samuel L. Jackson can prove an imposing presence, and he almost does so here. Rachel Bilson, as the love interest, is absolutely adorable and proves to be a decent presence. Then there is Jamie Bell as another jumper named Griffin, he provides a suitably rougish presence that works quite well. Now, the weakest part of the cast is the lead, Hayden Christensen. I think we may have a new big screen 2x4, overtaking the perennial winner Keanu Reeves. His work here is, well, flat is a kind way of putting it. Not once did I believe he was David.

With writing and casting out of the way, we land on direction. Doug Liman fills that role and he brings a good deal of experience on a series of successful films, including Mr. & Mrs. Smith and The Bourne Identity. With those films on his resume, one could safely assume that he would bring that edge of your seat excitement and popcorn munching aesthetic to his latest project. Unfortunately, his skills on past films did not follow him to this one. Jumper is, quite frankly, a mess. There is no sense of direction; scenes jump (sic) from one to another with no sense of flow or reason for being. I have to wonder just what it was that Liman was thinking when shooting the scenes. I cannot believe that this is what he had in mind. Perhaps the editor is to blame?

Jumper's flow is shockingly bad. It is rare to come across a film that has as little internal continuity as this. This is a movie that should be able to trade on the wonder it should induce. It is a movie that has plenty of backstory to trade for audience thrills. What happened? I know I am beginning to sound like a broken record, but it is a valid question.

There is one scene when David returns home to find Samuel L. Jackson's character, Roland, in his apartment. There is a brief talk followed by a big fight, which finds our hero barely escaping with his life. Shortly after this event, meaning immediately following, David returns to his hometown and promptly hooks up with his childhood sweetheart. What? Was something skipped? Are we missing a reel? Seriously, following the events and revelations of your Roland encounter, you think the best thing to do is try and get a date? I have to believe that there would be bigger things on your mind than that.

It is moments like these that reduce the potentially epic plot to a shadow of its potential. Rather than developing the characters and the plot, we are treated to a series of globetrotting set pieces with occasionally suspect effects work. Now, in between these non-connecting scenes add in action whose fast paced editing has no sense of orientation. I guarantee that you won't know which way is up when the fighting starts.

When the end rolls around? The first reaction you'll have is: "That's it?" I know I did. What we get barely scratches the surface of what is there. This was surely done to purposely set up a sequel, but it is not good movie-making.

On the plus side, and there is one, ther are enough plot gaps to allow you to fill in the empty space. This brings us back to the mad-libs reference. Watch what is presented, absorb it, then begin thinking about what is implied and what possibilities it contains and fill in those spaces with your own thoughts about what is happening and what could happen. It makes the shallow film go down a whole lot easier.

Bottomline. No, not a complete loss, and you can easily find worse films to waste your time on, but this could have been so much better. It is a great example of wasted potential. I can only hope that should a sequel move forward that they address the mistakes made with this one. It is at least an enjoyable miscalculation. So, sit back and enjoy the on screen nonsense, and those cool electro-cable gun things.

Very Mildly Recommended.

CD Review: Dead to Fall - Are You Serious?

Like so many bands I have reviewed over the past few years, Dead to Fall is another one that I have had no experience with prior to this release. The band has been labeled as a metalcore act, but considering the music on Are You Serious?, I am not so sure. The music seems to be a bit more experimental in nature, to the point that it does not strike me as metalcore. Although, I have no idea what I would call it. The music is layered, heavy, and rather entrancing. It also happens to be lyrically a little bit off when compared with other examples of the genre; that is when you can understand them! I admit to being rather inept at translating lyrics heard on albums.

That said, once Are You Serious? takes off, it is hard to put it back down. No, I don't feel that this is a great album or that Dead to Fall is the greatest thing since sliced bread, but there is definitely more to them than your standard screaming band. What I really like about the album is the relentless nature. It digs down into the heavy, looks you dead in the eye and engages in a musical stare down, daring you to blink, daring you to turn away. I found that to be a difficult task. Even when I wasn't truly feeling the music, I found myself listening on, waiting for the next uptick for one was sure to be right around the corner.

Before even getting to the music, you are bound to have some thoughts on the cover. It is a truly retro-80's style faux-digital looking piece of work. For some reason, as I look at it I am reminded of Tron. It doesn't really look anything like the Disney film, but that is the connection I have made with it. I have to believe that the thought process that led to it was pursued with tongue planted firmly in cheek, much like a lot of the lyrical content (what I made out anyway).

The album opens with an intro track called "IQ Test." It has swirling synth and a heavily processed voice imploring you to "relax, focus on the arpeggios, become one with the universe." It is rather humorous, while at the same time lulling you into a fall sense of security, allowing the band to take over as the song "Stupid" comes into play. Here is where the lyrical absurdity kicks in. The lyrics take dead aim at genre conventions, referring to much of them as being stupid, and flat out making fun of others. One of the best lines would be the last one: "Let's end this f**king song with a f**king breakdown!" Then, wouldn't you know it, the song goes into a breakdown and promptly ends.

Next is "The Future," appropriately making use of a theremin. Anyone who is anyone knows that the future will forever be signaled by a theremin. Not to mention it was used to make the signature sounds of many a 50's era science fiction movies. It is an odd instrument that is used effectively in conjunction with the natural heaviness of Dead to Fall.

Another bit of lyrical absurdity comes in "Major Rager." The song chronicles a big party thrown by a teenager while the parents are away. It gets so out of control that he begins saying that his parents are going to kill him and they are going to call the cops due to it raging out of control. This is contrasted by him also claiming the night as the best of his life. I won't even get into "Doombox," which arrives later on. Let it just be said that no topic is taboo.

Are You Serious? is an interesting album made by a band that made an intriguing decision. While the music is calculated and produced in wondrous fashion, it seems as if Dead to Fall is fed up with the conventions and expectations of them and the bands around them. This has led to an album that asks exactly what the title is: Are you Serious? They have mined their personal lives for thoughts and ideas and lyrics that take aim at these conventions and purposefully set out to subvert them. By and large, they are successful at hitting their targets. The end result is an album that plays with what is expected of them by having fun with it. It is definitely unique.

Bottomline. Are you looking for an album that ditches the self-important seriousness attitudes that many bands put on to seem important? Are you tired of the barriers put up between expectation and what the artist truly wants to make? If so, this album is for you. It is not great, but it is definitely interesting and is covered in strong production values. The music is actually good, too.

Recommended.


1. IQ Test
2. Stupid
3. The Future
4. Sleeping Bag
5. Major Rager
6. Loch Ness
7. Brainmelter
8. Cropgrower
9. Robo-Destro
10. Doombox
11. Astral Projection / Dream J(ourney)