Movie Review: Shutter (2008)

In 2004 a film reached the big screen in Thailand, it was called Shutter. The film proved to be a hit and was added into the Hollywood machine to be remade. Following the moderate success of the majority of Asian-horror remakes, it would seem to be a given that this would be added to the long list that began with The Ring in 2002 (and stands as the best of the remakes). Beyond that, Shutter has become the third one to reach the cineplex this year (after One Missed Call and The Eye). Now, the problem these films are running into is that they are all blending together. It seems like all of the films are being pulled from the same style, you know, the girls with long black hair that walk funny and have funny sounds, not to mention the washed out colors and plentiful jump scares. Anyway, this outing is about as generic as they come. I can only hope the original film is better.

As Shutter opens, we are introduced to the recently married couple of Ben (Joshua Jackson) and Jane (Rachael Taylor). It is just after the ceremony and the pair preparing to set off for a honeymoon in Tokyo before Ben starts a new job, as a hot shot photographer, with a company in the same city. Little do they know the dangers that lay ahead of them.

Now, the plot is straight forward, and if you have watched a few of these remakes you probably already have a pretty good idea of how it is going to go down and can safely skip the film. It is this familiarity that the filmmakers have to work to overcome. The formula is becoming very familiar at this point and there is very little stepping up to fill the creative void that makes this films worth watching. This puts a lot of pressure on the creative team to deliver a solid script, the director to shepherd the execution, and the actors to make us care.

To use this year's earlier remake releases, there is a thin line between being completely worthless like One Missed Call and the watchable The Eye. In the case of Shutter, it falls south of the watchable line and slightly above One Missed Call. This is a movie that has some nice moments of genuine style going for it, but the execution is tired and relies on the jump scare to keep everyone interested. When it comes to characters, they are as dull, lifeless, and unlikable as they come.

The central conceit to Shutter sounds much like that of White Noise (and we all know how good that was). It involves a phenomenon called spirit photography, which makes the claim that ghosts can appear in photographs when the emotion is strong enough to trap it to this world, unfinished business and whatnot. The question I had going in was whether or not they would tie the ghostly images to actual film, and while Polaroids do come into play (with a discussion of faked photos), the spirits appear on digital photos as well. I was disappointed.

Okay, now back to the honeymooning couple. While driving along a dark road towards a rented cabin, they run over a girl and spin out of control (in true Gothika fashion), only to discover that whomever they hit was nowhere to be found. Jane becomes haunted by guilt and begins to see the girl around town. Meanwhile, Ben is diving into his work as a fashion photog. Initially, he ignores his wife's troubles, but when they begin to impact him, his story changes.

See what I mean about telling where the tale is heading? Add in Ben's old friends, Bruno and Adam, and the picture becomes even more clear. This doesn't even touch on the bounty of hints strewn throughout for you to find. One thing to remember, though, there are a few apparent hints that never pay off in a meaningful manner, at least not for me.

The movie just is not all that good. I kept waiting for a reason to like the characters; it never came. I waited and waited, wanting to care, searching for that way in that never appeared. I could care less about whether they lived or died. Their scares? The set ups were terribly transparent and telegraphed from a long way off. The script? Dull, uninspired, and repetitive.

With all of the dull elements piled on, one has to wonder if there is anything good in the film. Believe it or not, there is. The first is a sequence with the spirit confronting Ben in his studio, the lights are off and the powerful flashes are going off. With each flash, the two are in different positions, generating a truly creepy sequence. Beyond this moment, much is made of the Tokyo locations, bringing scenery not often seen in Hollywood films. There were some shots that looked fantastic, save for the requisite washed out colors.

Oh yes, one more problem before signing off. The conceit of the spirit photography does not go very far. Yes, there are a couple of scenes and discussions about it, it is only used to reveal our ghost. The implication of the advertising was that this was going to play a bigger role (again, like the tapes in White Noise). Instead, we are given very little of the film's true basis in favor of a more standard ghost story.

Bottomline. You'd be better served passing this one over. If you feel the need to watch an Asian horror remake, go rewatch The Ring or The Grudge (both first editions, not the terrible sequels), or another one I liked while no one else does, Pulse. Aside a couple of tiny elements, there is not much to like here.

Not Recommended.

Forgetting Sarah Marshall - Stills, Trailer

If I said I was not looking forward to this movie, I'd be lying. It is an Apatow production, and his touch just works for my comedic tastes, plus it features Kristen Bell, and we can always use more Kristen Bell. It also stars Jason Segel (who also wrote), Mila Kunis, Jonah Hill, Russell Brand, Bill Hader, and Jack McBrayer. There has also been no shortage of promo material. Below is the red band trailer and a whole mess of stills:

DVD Review: Wedding Daze

It was nearly two years ago that I was at the local cineplex to see The Libertine, when I was approached by a young lady asking if I was interested in attending a test audience screening of a film being held at the nearby community college. Being the movie fan that I am, and not having had this particular opportunity before, I immediately said I would attend. She gave a flyer with the location, date, and time, thanked me and moved on to some other people standing around. A few days later I was sitting in an auditorium watching a film called The Pleasure of Your Company. It was the very first cut of the film, had temp music, unfinished effects, and the end credits was just a scroll of the words "End Credits." It was an enjoyable experience with a film I felt was entertaining if insubstantial. We had a brief discussion with a couple of the producers in attendance and went on our way.

What does this have to do with Wedding Daze? Well, The Pleasure of Your Company was the original title of the film, which has also been called The Next Girl I See (which is actually the best of the three titles). nearly two years since that first cut, the film makes its DVD debut (released this past January), completely bypassing the American theater system. I am guessing the tests did not go that well and they felt it would perform stronger on DVD without a theatrical release. Still, it has been put up on the big screen in other nations around the world, beginning with the UK in June of 2007 and most recently in Turkey this past January, plus it still has a German release this May. To date, it has taken in north of $7.5 million worldwide. Small potatoes to be sure, but nothing to sneeze at for a little film like this.

Anyway, the film stars Jason Biggs and Isla Fisher as the unlikliest of engaged couples in this feature film debut of comedian Michael Ian Black as a writer and director. It is comedy about love, marriage, and the wackiness that can lead us in very strange directions in the search for it. Well, something like that anyway. Revisiting the film in a more complete format on DVD reveals it to be a lesser experience than it was at the test screening. The only reason it is at all entertaining is the presence of the likable stars.

As the movie opens, Jason Biggs as Anderson is dressed, rather nearly naked, as Cupid and is about to enter a restaurant where his girlfriend, Vanessa (Audra Blaser), is awaiting his arrival. He is preparing to propose to her, while she is tempted by the busboy and his line of being special ops. Anyway, Anderson enters and delivers his proposal to the shocked patronage. Before Vanessa can answer, she keels over and dies of an apparent heart attack.

This tragedy throws his life into a shambles to the point where he scarcely does anything. Then, about a year into his self-imposed isolation, his best friend encourages him to look around and find someone new. Anderson looks around the diner and spies the waitress, her name is Katie (Isla Fisher). He proceeds to propose, she accepts, and comedy ensues.

We are introduced to both sets of wacky parents, including Katie's felon father Smitty (Joe Pantoliano). We meet Katie's circus friends, Jane (Heather Goldenhersh) and Matador (Ebon Moss-Bachrach). Together, they all try to keep them together, while Vanessa's ghost haunts Anderson and Katie's ex, Michael, attempt to keep them apart.

The film is nothing terribly special and never does anything terribly original. It is what it is and then it is no more. Not to say it is not entertaining, it has its moments, but nothing that will last. Jason Biggs is good, playing a variation of his American Pie character. Isla Fisher just lights up the screen as the bubbly Katie. She has a very good future ahead of her, and has done some good work since making this film. The supporting cast files their roles fine, but again, nothing terribly special.

There are moments thatr smack of Michael Ian Black, but overall I just get the impression he was trying to be mainstream with this feature. His "voice" does not come through terribly strongly, at least not the voice I have come to expect from his Stella work and his other oddball work, including his appearances on VH1.

Audio/Video. The DVD looks fine. It is a well done transfer that accurately captures the image and sound while not being overly impressive. Of course, this is not the kind of film that will tax your A/V setup.

Extras. The bonus material is limited to a trio of deleted scenes, all of which were in the initial cut that I saw. They total about five minutes and their absence does not hurt the final film in the least.

Bottomline. My rating may not be high, but it is worth a rental for an at-home date night. It is innocuous enough and provides anough smiles to deliver a moderately entertaining evening. It is rated R, but it is a mild R and probably would have been better served if it targeted a Pg-13 instead.

Mildly Recommended.

The Strangers - Trailer

The official US trailer is here, and it looks pretty good. It is a home invasion story, more realistic than Funny Games and a bit more personal than Vacancy (I know, not a home invasion, but tonally related). It stars Liv Tyler and Scott Speedman as a young married couple who become the targets of a group of masked individuals. I think the most disturbing element is the answer that Tyler receives when asking why they were targeted. It is written and directed by first-timer Bryan Bertino.

New Movies and Box Office Predictions: Drillbit Taylor, Shutter, Meet the Browns

First off, Happy Easter weekend! I hope you all have pleasant family gatherings and that those gatherings translate to some family fun at the movie theaters! What better way to spend some time together than sitting quietly in a darkened room watching a movie? That's right! Probably nothing! Anyway, this weekend sports the release of three movies into the deep end of the pool, including a Judd Apatow produced comedy, a horror remake, and the latest from Tyler Perry. What does that mean? It means the surprisingly good Horton Hears a Who will once again top the box office.

Drillbit Taylor. (2008, 102 minutes, PG-13, comedy, trailer) The first Judd Apatow produced comedy of the year is upon us, the first of many. It seems as if every other comedy has his fingerprints on it somewhere. Not that it is a bad thing, but there is sure to be some backlash soon, even if the films still maintain some level of quality, which I hope they do. Anyway, this film is helmed by Steven Brill (Without a Paddle, Little Nicky) and penned by Kristofer Brown and Seth Rogen (Superbad) from a story they collaborated on with John Hughes (Sixteen Candles). The story centers on a trio of high school freshman who need some help dealing with bullies, enter Owen Wilson as the title character. Much comedy ensues. I think it looks pretty funny, even if there are overtones of a toned down Superbad.

Shutter. (2008, 85 minutes, PG-13, horror, trailer) And so, the Asian horror remake march continues, following January's One Missed Call and February's The Eye comes this remake of a Thai film. Frankly, it does not look much different than most of the others. If you pay attention to all of the remakes, you are sure to believe that all Asian horror tales center on undead spirits with long stringy black hair and make weird noises. This seems to continue the trend, adding in a touch of White Noise. I cannot say that I have high hopes for it, although I am willing to be surprised, as I was for The Eye (it wasn't good, but it was effectively creepy). The remake is the English language debut for Japanese director Masayuki Ochiai, he works from a script from first-timer Luke Dawson. The film stars Joshua Jackson (Dawson's Creek) and Rachael Taylor (Transformers).

Tyler Perry's Meet the Browns. (2008, 100 minutes, PG-13, drama/comedy, trailer) You know, I have never had much of an interest in Tyler Perry's films. Even when they look halfway decent I have never had a desire to sit through one. I don't know quite what it is. This is one of those that looks pretty good, with the moment ruined by the appearance of Madea, who seems to suck the life out of every moment I see. Angela Bassett stars as a single mother who has lost her job at the same moment she learns the father she never knew has died, she gathers her family together and heads off to meet the family she never had. This causes much conflict among the grieving family. It looks to be another heartwarming tale of family togetherness. Who knows, perhaps this will be the one I see.

Also opening this week, but not near me:

• Irina Palm
• Love Songs
• Planet B-Boy
• Race
• Under the Same Moon

Box Office Predictions
This will be an interesting weekend at the box office. With the Easter holiday, it is likely we will see totals much smaller than last week. Considering that there is a holiday, I have a feeling that Horton Hears a Who is going to repeat as the top film. Family friendly will rule the weekend, with so many families getting together, it is likely that they will want to see a film as a family and Horton would appear to be the best bet, although it is not likely to reach anywhere near the $45 million it made last weekend. On a non-holiday weekend, I would have said Drillbit Taylor was a shoe-in for the top spot, it will still have a good opening, just not at the top. Meet The Browns should also be looking at some success, Tyler Perry has a proven track record that speaks for itself.

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

Rank	Title	Box Office
1	Horton Hears a Who	$25million
2	Drillbit Taylor	$19 million
3	Tyler Perry's Meet the Browns	$17 million
4	Shutter	$9 million
5	10,000 BC	$8 million
6	College Road Trip	$4.5 million
7	Never Back Down	$4 million
8	Vantage Point	$3.5 million
9	The Bank Job	$3 million
10	Doomsday	$2.5 million

Harry Potter and the Half Blood Prince - Still

Exciting news for you Potter-heads, a still has been released from the next film. I cannot say it is a great shot, but it gives you the three leads, and what more can you ask for? Well, at least at this point.

G.I. Joe - Still

The film's release is still well off, but Paramount has released the first still from the film. In and of itself, it is not terribly exciting for the scene, nor is it all that colorful, but it is still significant. This still gives us our first look at fan favorite (and mine from my youth) Snake Eyes, the martial arts master and operative for the side of right. Ray Park, best known for playing Darth Maul in the first Star Wars prequel and Toad in X-Men is the man behind the mask. I have to say that he looks great, I just hope he comes across as cool on the big screen as he did during my childhood playtime.

CD Review: Salt the Wound - Carnal Repercussions

Hailing from Cleveland, Ohio, Salt the Wound has existed in one form or another since 2001. During the intervening years, they have gone through a number of line-up changes before finally settling down with their core five. Over that time, the band has released a demo and an EP. Recently they signed a deal with Rotten Records and have released their first full length album. While the album is actually quite good, it should be noted that two of the artists who perform on Carnal Repercussions are no longer affiliated with band. First is vocalist Kevin Schaefer, who left due to a supreme distaste for touring, he has since been replaced by Matt Tanner (demo up with him at their MySpace page). The other is drummer Brandon Tabor, who's been replaced by Rob Walters. The core trio remains, and the plans are to soldier on in support of this debut release.

The album arrived in a plain white envelope, containing all of the information required to make a proper looking CD, should I so choose. The artwork is pretty hardcore, featuring a rather twisted image that is sure to inspire expectations, positive or negative, for what lies beyond. Believe me, it is a very accurate depiction of what this album is all about. It dispenses with any pretense of catering to the masses in favor of getting right to the point. In doing so, Salt the Wound has crafted an intense dose of brutal deathcore with touches of hardcore and straight up death.

Salt the Wound hit the ground running, don't look back and don't seem to be all that concerned with the carnage they leave in their wake. If you happen to get in their way, don't blame me for the repercussions. This is a band that is firing on all cylinders as they charge forward, creating their own definition for the style. There is absolutely no denying the ability that this quintet brings to the table, only sadness, knowing that this will be Kevin Schaefer's only recording with the band.

Carnal Repercussions opens with the appropriately titled "Intro." It runs just over one and a half minutes and slowly eases you in with some random noises and distortion before the guitars come in and kick off a heavy, head pummeling riff prior to kicking into the gear. The opening gives you a taste of the heavy riffing and hardcore-style breakdowns that are to come in the songs beyond.

The first true song is "Better Than This." The track hits full blast, it takes no prisoners, and is quite pummeling in its execution. It is far from the best they have to offer, but far be it from me to say they don't put their energy on display. Energy, aggression, and brutality are the name of the game with Salt the Wound.

You could pretty much pick any song off of Carnal Repercussions and find something to like. It is very easy to get sucked into their heaviness and feed off the brutality being delivered. I can only imagine what it must be like to be in a roiling Salt the Wound pit when they are having an "on" night. It must be one absolutely insane occurrence.

Among the best songs are "Gloves" with its group chant over hardcore breakdown bit, The surprisingly melodic (but still brutal) "The Conformist," and the title track, "Carnal Repercussions." Also of interest is the truly melodic closing track, appropriately titled "The End" and not containing any lyrics.

This line-up seems filled with ability and passion, it is a shame that this lineup is unlikely to reunite at any time, as the sound gels perfectly. The production quality is fantastic (props to Cole Martinez). The vocals sound as if they have gone through considerable processing, but Schaefer's voice sears through, making it just another tool rather than a cover-up. As good as the vocals sound, the centerpiece is the twin guitar work from Jake Scott and Vince Stropki. These two work together amazing well, weaving in, through, and around each while not stepping on each other. Beyond that, their sound is deliciously heavy. The rhythm section is also quite strong. Nothing is lost in the great mix, each instrument has their time to shine.

Bottomline. Like death or deathcore? This could be just what you are looking for, assuming that you want something new. This is a very impressive debut for the band. Carnal Repercussion is a breath of fresh air in the deathcore scene. Go out and get your hands on this imprssive slice of brutality.

Recommended.


Track list:
1. The Beginning
2. Better Than This
3. The Conformist
4. We'll Sleep Until Sunset
5. Gloves
6. Gannon
7. A Slight Burning Sensation
8. Peas And Carrots
9. I Swear The Visine Is For My Allergies
10. Carnal Repercussions
11. The End

Speed Racer - Posters, Trailer

The Wachowski's big screen adaptation of Speed Racer looks like it could be amazingly cool, or abysmally awful. The trailers are big, colorful, and full of cartoonish glee, and the posters seem to match the unbridled enthusiasm. I cannot say that I am really looking forward to it, but I am definitely curious. Here is one of the new trailers and a trio of new character posters:

Pathology - Poster, Trailer

After watching this trailer, I could not help but have a "What the...." reaction. It strikes me as a cross between Saw and Flatliners. Strange, I know. I have to admit to being somewhat intrigued, although I am not much of a fan of Milo Ventimiglia (Heroes). Anyway, the movie tells the story of up and coming pathologists plying their trade in a rather unconventional manner.

Movie Review: Doomsday

Playing like a "best of" reel cut from other films, Doomsday is not a particularly good movie, but it is a completely entertaining film. This is the film where writer/director Neil Marshall just cuts loose with all of the fun ideas that have been bubbling through his consciousness, filtered through films he has enjoyed, both new and old. This is a film where greatness and originality do not appear to be the final goal, rather it felt like he was trying to piece together all of those ideas into a single cohesive film. An experiment, if you will, in stream of consciousness and the ability to pull all of these ideas into a film. The end result? A film that tickles the pleasure centers in just such a way that you cannot help but be sucked along for a wild ride.

Doomsday brings in elements of a number of other films. Among the films referenced are Aliens, Escape from New York, Road Warrior, and 28 Days Later. I am sure there are more there waiting to be uncovered, but these are the most obviously apparent. It is sort of a lower level Quentin Tarantino homage film, but if he directed this it would have starred Uma Thurman and some older star needing a career resurgence, or at least some recognition (like John Travolta, Robert Forster, and David Carradine). However, this is not a Tarantino film, it is a Marshall film, and that being the case, it has more of a B movie feel that aims at being pure entertainment and nothing else. I watch Doomsday and do not get any overt attempts at sermonizing the state of world affairs. Sure there are parallels that could be made, but I really didn't care; Marshall has created such a film that all that matters is what is on display.

As the film opens, we learn (via voiceover from Malcolm McDowell) that a virus appeared that began to decimate all in its path. It first appears in Scotland, so what do they do? Wall off Scotland, of course. There was never any serious attempt to discover a cure, just wall of the infected area and forget it. No one knows exactly what happened inside the wall, but eventually the visible fires went out and the area around the wall went quiet. With the outbreak apparently contained you would think that England would be okay, but that would be quite far from the truth.

Because of the way Scotland was treated, the world turned their back on England; leaving the country an economic wreck, poverty and overpopulation ran rampant. Then the unthinkable happened, the virus returned. At the same time, it is revealed that there is still life within the wall, and where there is life, there is a cure. The plan is easy, send a covert military team into the hot zone to find and extract the cure, if it exists. To lead the team the enlist Eden Sinclair, a top agent in the defense force and one of the last to have made it out of the hot zone prior to the sealing of the wall (she was a child at the time).

So, off the team goes, tough as nails Sinclair at the head. They head to Glasgow, in search of the last scientist known to have been working on a potential cure. Rather than the good doctor, they find a band of gothic punks, not unlike the bad guys in Road Warrior (except played much more comedically). This precipitates a big fight, culminating in the discovery of a clue to the whereabouts of the doctor. This leads them into a medieval society, where they fight some more, which turns into an all out road chase with the punks from earlier. The climax is reached and plays for all of the bravado that this over the top, testosterone driven spectacle deserves.

That really is all there is to it; a virus outbreak, a wall, a new outbreak, a wall breach, and non-stop action. Neil Marshall delivers everything with such shameless excess that I found it completely impossible not to grin like an idiot at every implausible moment.

The performances hit all the right notes. Rhona Mitra leads the cast as Eden Sinclair, a latter day Sarah Conner. She brings a steely persona that fails to develop beyond the expected tough guy presence. I found myself cheering for her every step, while also wondering what lay behind the emotionless facade. Mitra is more than able to deliver the physicality required by the role and would love to see her in more projects in the future. There is a pair of more familiar names amidst the supporting cast, and their presence does help elevate the film's esteem. Those names are Bob Hoskins, as Sinclair's boss, and Malcolm McDowell, as Doctor Kane.

Among the supporting cast, the majority of the roles soar well beyond reality and into the bizarre. At the top of the short list would have to be Craig Conway as Sol, leader of the Road Warrior punks. The guy is part insane megalomaniac and part rock star, but beyond that, he is all fun. The guy is crazy, relentless and hilarious. At his side, although for too short a period, Lee-Anne Liebenberg as Viper, the tattooed girlfriend of Sol, exhibiting an alluring dangerous, amazing screen presence. For the few characters to have any actual impact, there are a ton of pure generic players there to be killed in a variety of ways. Not everyone needs a personality, most just need to be seen on screen.

Neil Marshall delivers the goods with his third film. It does not quite reach the claustrophobic, frightening heights that The Descent reached, but it is a vastly different film. This feels like exorcising of his cinematic demons, the culmination of his lifelong love of the cinema. Perhaps it would be best to view this as a love letter to the genre films that initially drew him into the world of filmmaking. Three films deep into his career, and they all deliver the goods, each demonstrating the next step in his ability. It will be interesting to see what he sets his eyes on next.

Bottomline. This is a wonderful movie. It may not be obe destined to take a place among the greats, but it is sure to grace numerous cult film lists for years to come. It is the kind of movie that can be watched numerous times without becoming boring. Also, the cyber-eye is kinda neat.

Highly Recommended.

CD Review: Immortal Dominion - Awakening: The Revelation

Are looking for an album that finds its members desperately seeking a genre? This may fill the bill. However, if you are looking for an album that is more focused on what it is and what it wants to be, you will need to look elsewhere. Immortal Dominion's Awakening: The Revelation is a release that is filled with metalcore, deathcore, death metal, and even some punk stylings. However, none of them seem to want to step up and take control. In this regard, this 2005 release (the last full length form the band) is all about self-discovery, a desire to figure out what the band wants to be. The title then becomes all the more relevant, as the band concept is being awakened and the multitude of influences slowly reveal what it is that they are. Rumor has it the band is working on a new album, one would hope that they have gained more focus since 2005.

You may be wondering why is there interest in this 2005 album from a band you've likely never heard of. The answer is simple; there is a renewed public interest in the band following the release of the horror film Teeth. You see, the band was able to contribute five songs to the soundtrack, and that will almost immediately raise the interest level. It would not surprise me to learn that this happening is the driving factor in the band continuing to drive forward.

Whatever the real case may be, there is a new push of this album to help get the band's name out there and create some buzz, with the hopes of positioning them for a breakout year in 2008. Will it work? Perhaps. While the movie buzz will put them back on the radar, it is going to be what they do on the next album that will seal their fate. At this point, I would have to say it is a 50/50 shot at hitting it big.

The problem is that while there are some good tunes on Awakening, it is not a great album that loses something in the cohesion factor. I did not get caught up in any of the songs. Not to take anything away, I think the skills are there to create a truly kick-ass metal album. Perhaps the next album will be it?

The first thing to grab my attention with Awakening is the cover art. It is black and gray with the band's name on top and bottom, simple enough. The interesting portion comes in the middle, in the form of some bio-mechanical art that seems to have been directly inspired by H.R. Giger. It is an intriguing image that feeds perfectly into their clipped style.

As for the music? Like I said, there are a variety of styles at work, a band in search of itself. On my first pass through, I cannot say that any of it really stuck out to me. However, on subsequent passes there were a couple of songs and moments that stood out to me. On the whole, there was some strong riffing that was easy to get into from Ray Smith and Brian Villers, there was also some nicely timed double-bass by drummer Ben Huntwork.

The first song to jump out is "Eat Your Flesh." It is not so much the song, so much as it is the amusement I get from him shouting "I want to eat your flesh / But I don't know how!" I cannot put my finger on it, but hearing that just cracked me up. Another is "Sold My Soul," a near radio-ready blend of metalcore and deathcore, and one of the songs to garner them some notice from its inclusion in Teeth. "Something to Change" is a decent excursion into deathcore, and "Awakening" is interesting for the alternating grind/acoustic during its opening segments before becoming a completely brutal cut.

Awakening gains some much needed focus during the last few tracks as they go more full-on death. This focus clearly shows the band gaining some momentum in both style and in songwriting as they are the best tracks on the album. If they can take these last moments and translate them into something fresh to further the momentum they may be a band to keep an eye on.

Bottomline. Mediocre album. It is not without its charms, but it is definitely in need of a direction. Take those last few songs and the strong moments strewn throughout the rest and you have a good seed from which to grow a band and an identity. Awakening is worth checking out, but will not likely ne revisited all that often, save for the few tracks you add to your iPod.

Mildly Recommended.


Track List:
01. Punishment
02. Will to Survive
03. Eat Your Flesh
04. Sold my Soul
05. World
06. Something to Change
07. Fear Free
08. Not Good
09. Awakening
10. Christian Witchcraft
11. Blasphemy
12. Untouchable
13. Shallows in the Vatican Darkness
14. The Other Side of Pain