Movie Review: Whatever Works

For many years Woody Allen has been something of an unknown factor to me. To a large extent he continues to be an enigma. My experience with his movies has been limited, to say the least, more or less limited to those films over the past decade, and looking over Woody's filmography, there are some great movies I still need to see. Anyway, off I went to see Whatever Works on the heels of such recent Woody ventures as Vicky Cristina Barcelona, Cassadra's Dream, and Match Point. This proved to be a decidedly different experience, but one that proved to be infinitely more rewarding than the past couple I have been subjected to.

Whatever Works turns out to be one of the funniest Allen films I have seen in recent years. How could it not be? It the first straight up comedy he has made since 2003's Anything Else. Most of his films since then have played more towards the dramatic or thriller side of the coin, with most coinciding with his departure from New York City for more European locales. Even with my limited Allen experience, it is nice to see him return Stateside and turn out a zippy banter driven comedy.

It came as no surprise to learn that this screenplay was originally written in the 1970's and was being tailored to star Zero Mostel, but his death caused Woody to shelve the script. I am glad to see he was able to dust it off and put it to good use. Not only that, but Larry David seems to be the perfect fit for the role, which feels like the classic Woody type role that he would have played 10-15 years ago.

The movie opens with Groucho Marx singing "Hello, I Must be Going" from Animal Crackers, serving as the film's theme song and summing up much of what Boris Yellnikoff (Larry David) is about. We move from there to watching the activity that likely takes up the majority of Boris' time. What could that be? Why holding conversation/lecture his friends on the finer points of life around them and how pretty much hates all of it.

Boris then turns to the screen and begins to tell his story to a non-existent audience. It is a brilliant breaking of the fourth wall. From here we move onto the story proper where we get to learn a bit more about what makes Boris tick. In particular, we learn about his "whatever works" philosophy and how love is a funny thing and you never know when you may be called up to give some, take some, or share some, just be ready for its fickle nature.

Boris reveals himself to being a quantum physicist who was once almost nominated for a Nobel Prize, a retired professor who is divorced from his perfect match because he could not stand it. He know lives in a low end walk-up and makes some extra money teaching chess to "inchworms" of whom he is more likely to smack with the chess board as he is to offer any sort of encouragement.

One day, he returns home to discover a poor girl at his door begging for food. He initially rebuffs her begging, but eventually relents and invites her in. The girl is Melody St. Ann Celestine (Evan Rachel Wood) and she buys into what Boris is selling, hook, line, and sinker. The two end up becoming an item, much to the chagrin of everyone, including Boris. Things get even stranger when her mother (Patricia Clarkson) and father (Ed Begley Jr.) arrive, separately, considering their estranged status.

A number of characters float into view, all of whom give meaning to the "whatever works" philosophy. They are transformed by the city around them, their eyes are opened, their minds cleared of the barriers that have been put in place. They recognize the change inside of themselves and they act appropriately.

The film is actually rather interesting, offering up philosophical meanderings on life that impart some ideas and concepts that we are to used to hearing, some even running counter to what many have been taught over their lives. I am not saying this will change anyone's lives or belief systems, but there is a definite truth behind the words that could be worth pondering.

The performances are all quite good. Larry David has a very distinct style and his mannerisms and delivery are perfect for a Woody Allen character. He is funny, confident, and cannot believe anyone could dare believe he is anything other than right (I feel like that sometimes). Then there is Evan Rachel Wood, whom I did not even recognize until the closing credits, and she is pitch perfect as the young girl of Boris' life. She brings sunny optimism, naivete, and the desire to trust anyone and turns into a near art form. It is a fantastic performance, which is one of the best of her young career.

As for Woody, it seems to fall well within the parameters of what made classic Woody so great. It may not be one of his best, but it is definitely a change of pace from his recent fare and a step from his past two films. His direction is minimal, as his focus is on the characters and dialogue (I suspect this is the school of thought that Kevin Smith subscribes to). What shines is his dialogue, there is plenty of it, it is smart, witty, and delivered in rapid fire pace.

Bottomline. I am glad I made the trip to see this one. It gives some actual content that will stick with you and is genuinely funny. It is very Woody Allen and will therefore not be for everybody, but give it a shot, you may surprise yourself.

Recommended.

2009 at the Movies: The Best and the Worst So Far

The first half of the year is up, so it is the perfect time to look back on 2009's first six months and think about what movies worked, what movies didn't, and which ones failed to live up to their potential. That is what this column is all about, I will share with you what movies you need to see and what you should avoid.

It is funny, as I do not feel this year has been a particularly strong one, but it has still turned out a number of very strong movies. Some of them were completely surprising, at least to me. There is nothing better than going into a movie and being completely surprised by what appears on that big screen. Now, remember that any lists like this are relative and can change on a moment's notice. This is the ordering that fell in line while being put together but could change by the time the end of the year rolls around. Heck, this list could be different tomorrow.

Without further ado, let's take a look at what 2009 has had to offer so far:

NOTE: to be eligible for this list, I had to see the movie prior to the end of June making 51 movies eligible (I subtract multiple viewings and 2008 films seen this year)

Top Ten Movies:

1. Up. Can there be any doubt? Pixar continues to amaze with their films that are triumphs on both a technological and artistic level. The animation is simply first rate, there is no company capable of turning out such great animation. However, it is more than the animation that makes this such a great film. The story of Carl Fredricksen (Ed Asner) drew me in right from the start as he learns that life is what you have while making other plans. The film affected me emotionally within the first 15 minutes, which tell the story of Carl's childhood, marriage, and life until the story proper picks up with a grumpy old Carl. The rest of the film follows Carl on the adventure he always wanted, but realizes that there is more to life. It is deceptively simple, yet incredibly moving. It is easily the best film so far this year.

2. Star Trek. Never did I think I would see a truly great Star Trek movie. This movie proved to be enormously entertaining and finely crafted. Yes, you can nitpick it to death, but you can probably do that to just about any film. This is not a big statement movie, you will not learn much, if anything, about the human condition. To that I say so what? It matters not. This movie successfully creates an alternate universe to the original series while reintroducing us to familiar characters, but with a twist. The story works as an origin story, but is also a thrilling action picture that features a bad guy bent on revenge through time. This is so much more than I could have hoped for.

3. The Brothers Bloom. Here is a con man movie that is much more than the con, it is about love, life, the funny things that happen to them. This movie has it all—drama, comedy, action, explosions, and an immense amount of heart. It goes in unexpected directions, and reaches the only conclusion it can. It will have an emotional impact as it ably shifts from the light-hearted to the dark and serious throughout. Writer/director Rian Johnson has knocked another one out of the park. By taking the familiar and putting a unique spin on the elements he has crafted a story that deserves to be seen. Not only that, he has a wonderful visual style with interesting camera angles, transitions, and cuts. His sense of pacing is spot on, and there is never a moment here you are left to get bored. The man has immense talent and I look forward to whatever he has to offer next.

4. Coraline. Henry Selick has crafted a film that transcends what might traditionally be called a kids' film. It is a movie that offers up a dark fantasy nightmare for children that tempers its threat with an empowering heroine. It is a story that anyone who was ever a child can identify with, and is dealt with using an intelligence that does not pander to children nor does it talk down to them. It deals with the material with a maturity that belies the mainstream view of it as a kids' film. It doesn't hurt that the source material is a story by Neil Gaiman (Sandman, Stardust, NeverWhere, Mirrormask).

5. Watchmen. Based on the graphic novel, which was said to be unfilmable,Watchmen arrived amid great hype earlier this year. When you look at it on paper, the plot seems to be a little conventional. Fortunately, the story is much more layered and complex than I am willing to do justice here. This is a film that eschews standards of action and character development in favor of developing a world that exists in the gray area between good and evil, where motives and methods play both sides of the fence in the service of what may or may not be the greater good. There are many layers to peel through on the narrative side, but it is also an absolute visual feast. Definitely going to look good on Blu-ray.

6. Knowing. As Knowing unfolded before me, I was drawn deeper into the tale. This is a movie that will keep you on the edge of your seat. It has a delicious slow burn quality permeating each frame. You are only given what you need to know, and even then it is barely enough. Knowing forces you to engage, to become involved, but it does so in such a way that you may not even be aware of it at first. On the surface, the story appears to be one that you have seen many times before, and that is part of the brilliance. It is an original story that comes in the guise of the familiar. That is how you get hooked. It is an insidious plot to get in your head and win you over. Don't let Nicolas Cage get between you and this movie, it is fascinating watching him try to figure out the meaning of the numbers.

7. Drag Me to Hell. This movie is a downright blast. It will give you chills, make you jump, make you laugh, and just deliver a good time. You will bear witness to a knock-down, drag out fight taking place entirely in a car, as well as another appearance of Raimi's famous 1973 Buick. This is an energetic jolt to the horror genre and one of the most entertaining films of the year. The story has overtones of Stephen King's Thinner, but it has been put through the Sam Raimi old-school horror ringer and turned into something completely different. Highly recommended.

8. Last House on the Left. Definitely successful in execution, this film works a strong answer to what constitutes much of mainstream horror over the last few years. It brings genuine disturbance to the screen rather than gratuitous blood and guts. It is a film that will bring disgust to the pit of your stomach and produces protagonists you truly want to cheer for as they exact their revenge. Yes, it has a limited audience, and is not what you would call an Oscar film, but that is not gong to stop me from giving the film what it deserves. This is a successful remake of the Wes Craven created exploitation film and brought an uncompromising film to the big screen.

9. The Hangover. The Hangover could just as easily become a series of SNL or MadTV sketches, which only exist to get to the next scene. Rather than taking the easy route, we get a script that is written rather than pieced together from the leftovers of other films. It grows and develops as we move along. The plot develops organically, much like the comedy which allowed to develop organically. This is a seriously funny movie, something I was hoping for but not expecting. I did not see this one coming, and that only works in its favor. This is a very funny film with some good writing and strong performances. It really stands out from the crowd.

10. Is Anybody There? This is a delightful movie. There is a strong sense of reality and it does not feel trapped by the conventions of the formula. Then there are the performances, this is definitely a film to savor. It centers on a young boy whose outlook has been warped by a proximity to the old and dying who finds life in an elderly man who does not see the point in going on. They learn from each other and find a new way to move through their life properly. Michael Caine puts on an absolute acting clinic.

And now, because you didn't ask for it, a peek at what rank at the bottom of the cinematic pile.

Worst 5:

1. The Informers. Here is the worst movie of the year so far. The characters are all in search of fame, power, wealth, and sex, seemingly valuing greed over all else. Issues arise early when the characters reveal themselves as dull. I had no reason to care. Nothing interesting happened, all of the characters are interchangeable, and forget about trying to keep who is who straight, I couldn't. The Informers almost challenges me not to write about it. Writing about it just may give it more attention than it deserves. As I left the theater I felt nothing, I had no reaction to the content, it wasn't shocking or eye opening, it was just there serving no purpose.

2. Land of the Lost. This movie has so many problems, the first of which is Will Ferrell who is utterly annoying throughout. This is a movie based on a Saturday morning children's show reimagined as fodder for the young teen crowd filled with innuendo and bodily fluid humor. It is uncalled for, not funny, and poorly executed.

3. Street Fighter: Legend of Chun Li. Speaking of poorly executed films, here is another one for you. The story makes no sense, the acting is atrocious, and the fights are nearly non-existent. I should have known better going in, but I went anyway.

4. The Unborn. I wanted to like this movie. The trailer suggests a film that would have genuine scares and a plot that offers actual menace. The final film looks fine, but the tale is not all that interesting, and borderline nonsensical. Better luck next time. Ghostly kids, expository characters, exorcisms, Nazi experiments, disappearing twins, creepy kids, it all adds up to a whole lot of nothing.

5. Fighting. As stories go, there is nothing particularly special, fresh, or new to be found here. There is really not that much to hold onto. Everything is just really mediocre and often boring. The performances are all right but they have very little to do. For a film saddled with the unfortunate title of Fighting, there was not nearly enough of it and what there was, was not terribly skilled. It is generally a rather weak film that will fade, disappear, and be forgotten in rather short order.

There are good movies, bad movies and then there are movies filled with potential that fail to deliver the goods. Here are a few of those.

Disappointing 5:

Transformers: Revenge of the Fallen. Sure, the source material was a half-hour toy commercial from the 1980's, but there is still story potential there. They did a great job of realizing the robots in a live action setting, but the story is so poor. They put in all of these comedic bits that are poorly realized and do not belong. If they actually stopped for a minute and thought about a good story this franchise could have become one of the best ever

X-Men Origins: Wolverine. Ever since X2, this franchise has entered a free fall. How could they mess up the most popular mutant of all? Easy, make a boring movie. Through a bunch of characters at the screen, make a few funny quips, slap some CGI on there and hope for the best. This feels like a movie made by a studio rather than any actual creative talent.

Terminator Salvation. This is the best of the films in this section because it at least tries. The film is littered with good ideas, unfortunately nothing ties them together in any cohesive fashion. The action and effects are fantastic and a couple of the performances are compelling, but oh how I wish the screenplay was better.

Night at the Museum 2: Battle of the Smithsonian. The first one was a fun family movie, but the second one has that "movie by committee" feel to it. It is like they just picked a few more random historical figures and just threw them together. There is no real rhyme or reason, it fails to incorporate elements of the original film and many of the performers just appear bored. The primary high note is Amy Adams as Amelia Earhart.

Monsters vs. Aliens. This isn't a bad movie, it is one that just doesn't quite pull it all together. Th pacing is off and it seems to drag often. I do like some of the voice performances and the references to 1950's era science fiction, but it isn't quite enough.

And that concludes our first half wrap up, be sure to check back in January for the full year recap.

New Movies and Box Office Predictions: Bruno, I Love You Beth Cooper

Blockbuster week eleven is here. It feels like we are nearing the end of the season as we only have one legitimate bockbuster contender in next week's Harry Potter release. This week features a vulgar expose on society as told through the eyes of a gay fashionista and a high school-centric comedy about a night that would never happen in reality. We will also get to continue tracking the success of the year's biggest blockbuster, Transformers: Revenge of the Fallen, it has crossed the triple century mark, how far will it go?

Bruno. (2009, 88 minutes, R, comedy) Like the trailer says, Sacha Baron Cohen created a memorable and controversial character back in 2006. He is now returning to the big screen with a new creation, gay fashionista Bruno. He is back with another pseudo-reality film that sets out to expose the underbelly of society. Borat was hilarious and fascinating in how people would willfully give up such details about themselves, thus exposing them as something less than ideal. Will this succeed as well? Perhaps. I hope so. I also suspect it will be about as rewatchable as Borat. In other words, I do not expect it to play well past the initial viewing. Still, I am looking forward to checking it out.



I Love You, Beth Cooper. (2009, 96 minutes, PG-13, comedy) This looks mildly amusing, sort of like a throwback high school comedy. It centers on the class nerd who professes his love for the most popular girl in school. Much to his surprise, she shows up at his door and proceeds to show him the night of his life. I cannot say I have anything resembling high hopes for this, but the trailer made me laugh and it could prove to be a fun time. The movie stars Paul Rust as the nerd and Hayden Panettiere as the popular girl, they star for director Chris Columbus who worked from a script by Larry Doyle, who adapted his own novel.



Also opening this week, but not near me:

• Blood, the Last Vampire
• Mississippi Mermaid
• Soul Power

Box Office Predictions
Transformers: Revenge of the Fallen has taken its first two weekends. Is it possible the effects extravaganza has enough gas left to hold onto it for a third straight weekend? I think not, but you never now these days, what with the fickle audience always looking to latch on to the next big thing. I suspect that Bruno will rise up and take the top spot, everyone seems to love this guy and are interested in what antics he will kick up next. Despite the R rating, I am sure the theaters will be full. The rest if the list will just be shifted down a bit.

Here is how I think it could play out.

Rank	Title	Box Office
1	Bruno	$36 million
2	Transformers: Revenge of the Fallen	$26 million
3	Ice Age: Dawn of the Dinosaurs	$24 million
4	Public Enemies	$16 million
5	I Love You, Beth Cooper	$14.5 million
6	The Proposal	$8 million
7	The Hangover	$6.5 million
8	Up	$4 million
9	My Sister's Keeper	$2.5 million
10	The Taking of Pelham 1 2 3	$1.25 million

Blu-ray Review: 12 Rounds - Extreme Cut

The latest WWE venture into the world of bog screen cinema is 12 Rounds, the second such film to star multiple time WWE wrestling champion John Cena. The first was The Marine. This might as well be the same film. Both films feature kidnapped girlfriends and Cena running roughshod in his attempts to rescue the damsel in distress. There is nothing particularly special about either film, and it was pretty safe to skip them during their respective theatrical runs. I mean, it is not like you are in danger of missing a potential Oscar nominee. Of course, I have seen both in the theater, and enjoyed both to a certain extent.

12 Rounds plays out like a mash up of Speed and Die Hard with a Vengeance. It seriously feels just like the Die Hard sequel. You have a bad guy with a plan and a the intelligence to pull it off, giving the hero orders, telling him what to do or something bad will happen. What follows is the hero's mad dash through the streets to prevent that bad thing from happening. Will he succeed? I guess he would have to, otherwise this low-aiming film will be a serious disappointment.

John Cena stars as Danny Fisher, an officer for the New Orleans Police Department. One night, while on patrol with his partner, he is called into a pursuit to aid the FBI as they chase down an international fugitive arms dealer Miles Jackson, played by Aidan Gillen. The chase results in Danny being the hero, with the bad guy in custody. The only problem is that the chase resulted in the death of of the bad guy's girlfriend, and he has a long memory.

We jump forward a year, Danny is now a detective and living with his girlfriend (Ashley Scott) in a house that is in need of a lot of work. However, that is not the story. The story is that Miles has escaped from prison and has his eyes set on Danny, revenge is on his mind. To that end, Miles kidnaps Danny's girl and sets up a series of tests, twelve rounds of them (clever, no?). Miles calls Danny, tells him what needs to be done, what the consequences are, and how long he has to complete the task. Danny then takes this information and acts upon it accordingly.

While the action is fast and furious, there is never any real sense of danger as we move through the various rounds. Why? Well, there are twelve of them, why should we get all tense in the early rounds? It has to be assumed that we are going to make it all the way to the twelfth, otherwise the title will make no sense. Plus, this is clearly meant to be a crowd pleaser, so the hero is going to have to come out on top. With this information being a given, there isn't much of a reason to watch the movie, right? Correct, but I still think it is worth taking a look at, of only under the proper circumstances.

What are those circumstances? Late night cable or a rental for a slow night. The movie brings to mind action films of the 1980s with the big muscle bound hero taking on the bad guy through brute force. It is corny, cheesy, not terribly well acted or directed, and the screenplay offers no depth at all. It does not rise to the level the best of that era had to offer, but it is entertaining enough to hold your attention for a couple of hours. If you come across it and enjoy goofy action films, this will be right up your alley. On that level it is sort of fun.

Renny Harlin is the man behind the camera and has had a career filled with this sort of movie. Just look at Die Hard 2: Die Harder, The Long Kiss Goodnight, Cliffhanger, Driven, Mindhunters, the list goes on. This movie fits right in with that line up.

John Cena is a decent enough action star. He has a certain screen charisma and natural ability, but they would need someone with more skills than Harlin to focus them into. Still, he is likable and does a good job of focusing the audience's attention for this movie.

This disk is labeled as an "Extreme Edition" and the featured cut runs about two minutes longer, although I am hard pressed to tell you what was different. Nothing really stood out to me as different from the theatrical.

Audio/Video. The video, presented in its original aspect ratio of 2.39:1, generally looks pretty good. There is a fair amount of film grain present, particularly in the night sequences. Despite this, there is still a good level of detail. Fast action is smooth and the explosions look pretty solid. It is a not the best looking Blu-ray I have seen, but it is definitely a step up from DVD!

The audio is rock solid. Listen to the roar of the Camaro during round 3, also of note is the trolley sequence, and the elevator fall. The explosions and engine roars have real substance, while everything else is always nice and clear. Not quite reference material, but definitely solid.

Extras. This release comes with a few bonus materials to check out.

• Commentary. This track features Renny Harlin and judging by what he says, you would think they are making the greatest action film ever. Still, he is proud of his work and everyone should be, otherwise why do it? He does offer up plenty of interesting information about the shoot and is worth a peek by the curious.
• Streetcar Crossing: Film with Caution. This covers the shooting of the trolley sequence. It is a big action scene and this shows the amount of work that went into making the scene work, not to mention the logistics with shutting down New Orleans' mains roadway.
• A Crash Course: John Cena Stunts. This takes a look a the stunts of the film and the training that John Cena went through to make them work.
• Never Before Cena Gag Reel. Pretty much what you would expect flubbed lines and goofy behind the scenes bits.
• Keeping Score: The Music of 12 Rounds. This is pretty cool. Being a fan of film scores, it is interesting to see this part of the process. Trevor Rabin is the film's composer and the music is actually pretty good.
• Round and Round with Renny and John. Funny, they comment on the similarities between Cena and Matt Damon. This featurette is comprised of interview footage with both Cena and Harlin on and around the set. It is pretty funny, especially Cena's impression of Renny.
• Bonus Rounds. A series of shorter featurettes covering topics such as development of the concept, weapons training, the cars, and more.
• Alternate Endings. There are a couple of different endings. One features another guy on the roof after getting out of the pool, the other has a longer conversation with the couple in the hot tub. Nothing special or terribly different.
• Viral Videos. The movie has a couple viral videos. One centers on the size of Cena's hands and the need for a hand model, it is actually pretty funny. The other concerns the helicopter and an unfortunate explosion.

Bottomline. Not a great movie, not by a long shot, but still has its moments and on a B-level is actually decent. You can poke holes in the plot, mock the script, guffaw at the performances, and not be bored for a couple of hours. It also has a decent selection of extras that are worth checking out. Rent it, watch it on cable, it works as a time waster.

Mildly Recommended.

CD Review: Bill Leverty - Deep South

Way back in 1990 I was still in the throes of the "hair metal" era. I was only a few years along my path of musical discovery and years away from any true progression. Grunge was still a few years off and I had a rather narrow of what I liked in music. Rap? Forget it. Metal? Too heavy. Country? What a joke. That left me at the doorstep of bands like Def Leppard, Poison, Warrant, Skid Row, and Winger (yes, you read that right). No, there is nothing wrong with liking them and I am not here to defend my stance. What this is leading to is my first exposure to a guitarist names Bill Leverty. I first encountered him with a catchy hair metal riff in a song called "Don't Treat Me Bad" as a member of the band Firehouse.

That song got under my skin, and while I cannot say it is a great song (I am sure event he band would agree), but it is one I liked enough to buy the cassingle of (remember those?). I would play it ad nauseum for a day or two before giving it a rest. The guitar riff was infectious, the solo was solid, and the nasal, slightly whiny vocals of CJ Snare offered something different from the other bands out there. As much as I enjoyed their self-titled debut album, I quickly forgot about them and many other bands of the era as the grunge era stepped in followed by my taste expansion that has gone out in all directions over the past decade or so.

With all that said, it came as a surprise when I saw this new release from Firehouse's guitarist Bill Leverty. It is a solo album that shows a distinctly different side. The music is not of the big arena rock variety, nor is it the shredding solo release that some players are want to do to show they are more than they may seem to be in the band. Well, that last bit is partially accurate for Deep South. It is most definitely not a shredder album, you will have to look elsewhere for that; however, this album, that strikes me as a deeply personal one, is one that shows a different side of the Firehouse axe-man and definitely shows a different side of his skills and ability. Much like it took me more than a decade into my music listening life to truly find what music I loved, it has taken nearly two decades for Bill Leverty to record an album that shows him outside of Firehouse.

Deep South is a collection of ten songs culled from the Southern United States and were primarily written in the late 1800s and early 1900s. Some of them have been rocked up a bit, but they still retain a traditional air to them. The songs and their performances bring to mind the likes of ZZ Top and the Allman Brothers. Leverty performs all of the instruments (save a couple tracks featuring female vocals, which were performed by Kristina Leverty and harmonica on "Man of Constant Sorrow"). In addition to electric guitar, a number of different instruments including dobro, guitarele (a combination guitar/ukelele), mandolin, lap steel guitar, and banjo. The result is an album that has a familiar, yet unique experience.

This is a solid collection that is hard not to groove to. It has an easy going flow as we work through songs that sound fresh despite having been written more than a century ago. Production value is strong as the variety of instruments are all clear and discernible throughout the mix while the vocals are never hard to hear.

As I listen to the album, it is hard to pull out single songs to highlight as everything is uniformly solid. Each song bringing a slightly different feel to the table while as they all represent a common source. If push came to shove, I would have to recommend "Run On" which has a smooth flow and a serious nature, along with the rocked up "Samson and Delilah," then there is "Walk Beside Me" with its inviting acoustic guitar, not to be left out is "Wade in the Water" which has a very old school/new school feel with its traditional chorus combined with the electrified verse.

Now, I would remiss if I did not mention "Man of Constant Sorrow," the one song I was familiar with prior to this album. How did I know this song? That's easy, I am a big fan of the Coen Brothers' O, Brother Where Art Thou?, where the song played something of an important role. This is a different arrangement, a bit more modern sounding while still being instantly recognizable and insanely catchy.

As I mentioned earlier, this seems like a very personal album. The liner notes talk about the album's artwork, created by his grandfather. He also speaks of his grandfather's love for the South ad how he meticulously crafted these wood carvings and transferred them to paper. He also writes about wanting to bring awareness to the music of this region and era. Bill Leverty's love for the material and the obvious inspiration of his grandfather is something to be admired, his care in those areas translated to a high quality album that puts focus on the old material just as it does the talent of the performer.

Highly Recommended.

Movie Review: My Sister's Keeper

Manipulative? Check. Melodramatic? Check. Emotionally suspect? Check. Characters you want to comfort? Check. Characters you want to strangle? Check. Surprisingly effective? Check and check.

My Sister's Keeper is one of those movies that should probably not have been on the big screen. The movie feels like something that should be on The Hallmark network or some other similar station. It is that sort of emotionally manipulative, tear jerker that under most circumstances should not be allowed on the big screen. So, the question is why was this one allowed to pass? It is a question I do not have an answer to. Although it may be humorous to note that had it appeared on a cable network there is a good chance (almost 100%) that I would have passed on it, so, in a way, it is probably a good thing that it appeared on the big screen.

I was initially attracted to the movie by the genetically engineered child part of the story. It brought to mind films like The Island and Clonus: The Parts Horror. It is an interesting topic, and one that is touched upon here, if not completely examined. Think about what it would be like if you could create a backup person from whom you could harvest needed parts, organs, blood, etc. It is a really creepy idea. Is this backup a real person? Do they have the same rights as natural born citizens? If you could genetically engineer a child, would the concept of a "mistake" pregnancy become a thing of the past? Would a market develop for designer children? Perhaps even laws determining certain traits. This brings up thoughts of the movie Gattaca.

These are the sorts of things that went through my mind as I watched My Sister's Keeper. I am fascinated by the increasingly subtle ways in which traditional "chick flicks" and traditionally male-centric genres are being brought together. Just look at The Lake House with its science fiction conceit, or the upcoming The Time Traveler's Wife with its time travel concept, add My Sister's Keeper to the mix and it becomes an interesting trend.

Now, as for this film. It is one that definitely puts a strain on the water works, no matter how strong your willpower is. This story gets under your skin and makes you care regardless of your convictions, it is terribly manipulative in that respect.

The center of the story is Kate Fitzgerald (Sofia Vassilieva). As a young child she developed a rare form of Leukemia. It, essentially, signed her death warrant. It is a disease that cannot be cured, cannot be beaten, and the young girl is destined to die. Her mother, Sara (Cameron Diaz) refuses to give up and fights incessantly to save her daughter. Sara and her husband, Brian (Jason Patric), decide to follow an ethically questionable path whereby they genetically engineer another child to be a match to Kate, who, they could use for needed transfusions and other medical procedures. That new child becomes Anna (Abigail Breslin) and the story picks up steam as Anna decides she is tired of being used for parts and wants a say in how her body is used.

The movie brings us in at this pivotal moment in the life cycle of this family. Kate is getting sicker, Anna no longer wishes to be used for her parts, Sara is becoming increasingly cut off from reality as she is blinded by the thought of saving her daughter, meanwhile Brian and forgotten son Jesse attempt to process the changes that are swirling around them.

This is a family in an active state of disarray. The Fitzgerald's are falling apart, eaten away from the inside just like Kate and her cancer. This movie gives us a ringside seat to a family's implosion. At first it is easy to site there and watch as they get mad at each and come together again in waves. You even find yourself siding with Anna as she takes on her family, while still being an important part of it. However, before very long, you begin to feel as if you are part of the family. It then becomes difficult, perhaps even impossible to divorce yourself from the deep feelings and emotions that bubble up to the surface.

The film was directed and co-written by Nick Cassavetes who does a fine job of keeping the story moving, never giving you a moment to catch your breathe, easily dragging you through the full range of emotions generated by the family. Cassavetes collaborated with Jeremy Leven to adapt Jodi Picoult's novel, and does a fine job of telling the story, although I would have liked a little more on the genetically engineered child/said child sues family for medical emancipation front. Fortunately, there is enough to tickle the mind with implications while focusing on the strong emotional quotient inherent to the subject.

Bottomline. Is it a great film? No, not by a long shot. However, it is the rare film whose success is based on its ability to manipulate the audience that succeeds and actually has a sense of realism, and that may be a reason to celebrate it just a little.

Recommended.

Box Office Update 7/3-7/5: Revenge of the Fallen Reigns Supreme

Last week Transformers: Revenge of the Fallen demolished the competition on its rise to the top of the chart. Now in its second week of release, it is nearing the $300 million mark and will likely finish at the top of the year's box office chart. Week number two also sees the special effects extravaganza retain its place at the top of the chart, albeit by a considerably slimmer margin than during its debut. The one thing to remember, box office success does not equal quality. While the effects and action are jaw dropping, the overall movie is a bomb as the story goes nowhere, the script is terrible, and the performances worse. There are much better choices scattered throughout the list. And yes, I realize I am part of the problem having offered my pennies to Michael Bay's coffer.

Coming a very close second is the latest family-centric animated feature. Ice Age: Dawn of the Dinosaurs had a smaller than I expected take over the weekend. I thought for sure this would win the weekend, I guess I was wrong. You want to know why it didn't win? I haven't seen it yet. I kid, I kid. I liked the first one, but thought the sequel was pretty bad. I have to wonder if this is a step up or further proof that the franchise over stayed its welcome? I will find out for myself soon enough.

In third place is Michael Mann's latest, Public Enemies. I have been looking forward to this ever since I first saw the trailer. Starring Johnny Depp, Christian Bale, and Marion Cotillard, this is the story of John Dillinger, his high. lows, and everything in between. This film I have seen and it is quite marvelous. It is not exactly what I was expecting, but it is a sight to behold. It is a movie that tells its story on its own terms, not necessarily giving us what we want, but just what we need to know. It is the basis of the legend without the legend. You fill in the blanks.

The Proposal and The Hangover continue to show strong legs as they draw in the crowds and suffer only minimal percentage dips. The former does not really deserve it, but is still entertaining, while the latter is one of the funniest films of the year and is well deserving of the attention.

In the latter half of the list there is not much to comment on as the movies continue to slide down the list. The only thing of any real note is that Star Trek has finally descended and dropped off the top ten. It is still the most successful of the franchise and I am happy for its success, but it is also sad to see the inevitable happen.

Next week's freshman class will see the arrival of Sacha Baron Cohen's latest creation, Bruno. We will also get to see the Hayden Panettiere comedy I Love You, Beth Cooper.

Two movies dropped off the top ten this week: Star Trek (11) and Away We Go (12).

This Week	Last Week	Title	Wknd Gross	Overall	Week in release
1	1	Transformers: Revenge of the Fallen	$42,320,877	$293,355,885	2
2	N	Ice Age: Dawn of the Dinosaurs	$41,690,382	$66,732,868	1
3	N	Public Enemies	$25,271,675	$40,141,080	1
4	2	The Proposal	$12,857,482	$94,335,111	3
5	3	The Hangover	$11,268,413	$205,038,233	5
6	4	Up	$6,521,389	$264,816,694	6
7	5	My Sister's Keeper	$5,788,327	$26,518,582	2
8	7	The Taking of Pelham 1 2 3	$2,534,228	$58,508,070	4
9	6	Year One	$2,323,843	$38,304,392	3
10	9	Night at the Museum: Battle of the Smithsonian	$2,043,288	$167,706,959	7

Box Office Predictions Recap
What a completely mediocre week for predictions by yours truly. My placings were decent, while my box office predictions were all over the map. I started with guesses that are way too high, while my numbers at the bottom were pretty darn close. Actually, this feels like a typical week for me. One day I will figure out some consistency for this. I can't believe how low the grosses were next to my predictions.

Here is how the field matched up:

Actual	Prediction	Title	Wknd Gross	Prediction
2	1	Ice Age: Dawn of the Dinosaurs	$41,690,382	$60 million
1	2	Transformers: Revenge of the Fallen	$42,320,877	$51 million
3	3	Public Enemies	$25,271,675	$32 million
4	4	The Proposal	$12,857,482	$10 million
5	5	The Hangover	$11,268,413	$9 million
6	6	Up	$6,521,389	$7 million
7	7	My Sister's Keeper	$5,788,327	$6 million
9	8	Year One	$2,323,843	$3 million
8	9	The Taking of Pelham 1 2 3	$2,534,228	$2.5 million
11	10	Star Trek	$1,769,967	$1.75 million

DVD Pick of the Week: Knowing

Welcome back! Well, to some of you, anyway. To the rest of you, glad you decided to stop by and I hope this humble column helps you navigate the stacks of new releases each week. My goal is to point you toward titles of interest and warn you away from those films that seek to do nothing but leech away your time and give you nothing in return.

Full disclosure: I have not seen many of these titles, and what follows are not necessarily reviews, but opinions based upon what I know of the titles I pluck from the new release lists I peruse. The opinions I give based on the new releases are my own, and my recommendations are based on my personal interest. In any case, I hope you enjoy and perhaps find something you like or a title to point me towards.

Knowing (also Blu-ray). As Knowing unfolded before me, I was drawn deeper and deeper into the tale. This is a movie that will keep you on the edge of your seat. There is a delicious slow burn quality permeating each frame. You are only given what you need to know, and even then it is barely enough. Knowing forces you to engage, to become involved, but it does so in such a way that you may not even be aware of it at first. The film centers on a series of numbers that seem to predict disasters, it is up to Nicolas Cage to figure out what the meaning behind them is. I know that sounds simple, but believe me, there is more than meets the eye when it comes to Knowing.

Push (also Blu-ray). This is a good movie. The action is well executed, and the film delivers, mostly, on its promise of a new world. It is not nearly as visionary as the advertising would want you to believe, but it has enough substance and verve to sustain it and probably a couple more films. Try it, you may be surprised. Push creates a world where people are born with all sorts of different abilities. All of these abilities appear to be the result of genetic experiments by the Nazis, with the goal of enhancing and weaponizing these abilities. When the war ended, the experiments continued, but were broken up into government run operations called Division. They would track and capture anyone found with an ability that that showed promise for further experiments. Sounds exciting, no? It has a little too much story for its own good, but it is certainly compelling.

Iron Maiden: Flight 666 (Blu-ray). This DVD was released about a month ago, with Best Buy getting the Blu-ray exclusively during this time. This covers the first leg of the band's massive world tour that focused exclusively (almost) on the music of the 1980's. This is a documentary as well as a concert release, with the concert comprising footage from each of the stops. I got to see this tour once on each leg, first in New Jersey at the IZOD Center and then again at Madison Square Garden.

Peanuts: 1960's Collection. This looks like a good collection of classic cartoons. This set includes A Charlie Brown Christmas, Charlie Brown's All-Stars, It's the Great Pumpkin, You're in Love, He's Your Dog, It Was a Short Summer.

Night Train: (also Blu-ray). This mystery/thriller is sort of like Hitchcock put through a modern filter. The finished film is a compelling one, but certainly not up to the Master's best. It stars Danny Glover, Steve Zahn, and Leelee Sobieski as a trio who come face to face with something that could change their lives forever, but at what cost?

The Unborn (also Blu-ray). I wanted to like this movie. The trailer suggests a film that would have genuine scares and a plot that offers actual menace. The final film looks fine, but the tale is not all that interesting, and borderline nonsensical. The Unborn is a ghost story that feels like a remake of a Japanese horror film with a little bit of The Exorcist thrown in. Like so many J-horror adaptations, it does not work. There are some fundamental differences between J-horror and American horror making translations a tricky proposition at best, but when you start aping the remake style in an original film you do nothing but add another layer of complexity that is not needed. In this one, a girl is haunted by a creepy little boy who wishes her harm. To tell more would needlessly confuse.

Kath & Kim: Season One. Hopefully this series is a one and done type of show. This sitcom is laughless, grating, and annoying. Why anyone thought this was funny, or a suitable replacement for Scrubs, I will never know. Now, here is is on DVD, complete with Molly Shannon and Selma Blair and their self-involved attitudes. If you like this drivel, I wish you the best.

Grave of the Fireflies. This is an anime film that could just as easily be made live-action. It is based on a true story of survival during WWII. It is a powerful moving story that will most undoubtedly move you to tears. It is one of the most affecting stories I have ever seen. It has been unavailable for some time, but is now back on shelves.

Evil Bong 2: King Bong. From the deadly serious, to the decidedly not so serious. This is the latest release from Full Moon Pictures, and how can you go wrong with a title like that? I have not seen the first, although I am not sure it is necessary. What else do you need to know? I think the title pretty much says it all.

Movie Review: The Proposal

Not to be confused with the 2005 Aussie western The Proposition (which I did for some reason, I know, silly me), this 2009 romantic comedy, The Proposal, is a completely different beast. For one thing, this movie stars Sandra Bullock and Ryan Reynolds instead of Guy Pearce and Ray Winstone, for another you have the director of 27 Dresses instead of the director of the director of the oft-delayed The Road. So, it is safe to say the movies have no real connection, and I am glad, could you imagine Ray Winstone as a romantic lead? Me neither. Of course, I could also not imagine Reynolds and Bullock as the leads in a western, at least not a serious one.

The romantic comedy has been a staple of the cinema for as long as I can remember. Anyone who is anyone knows that any romantic situation worth its salt is also ripe for comedy. So, this genre has got to be considered one of the most familiar to anyone who enjoys the cinema. Because of this familiarity, pretty much every situation has been used over and over and over again, making anyone who works within the genre will either need to work very hard to make their take stand out, do a very good job of using the cliches to their advantage, or be prepared to be ignored. How does The Proposal fare? Not too bad.

The Proposal is not the sort of film that is going to push boundaries, so do not expect this movie to blow you away. That said, it does all the right things and proves itself worthy of your time by taking your standard romantic comedy formula and keeping your attention even though it is pretty easy to guess where the story is going.

Let's set the stage. Ryan Reynolds is Andrew Paxton, an aspiring book editor currently working as executive assistant to one of the most demanding and fear-inducing editors in the business. Sandra Bullock is Margaret Tate, the hard nosed chief editor whose mere approach is enough to send the entire office into a frenzy of activity to ensure they are not noticed. She also happens to be editor for whom Andrew works for. Trouble begins when Margaret is called to her boss's office, where she learns she is to be deported for an expired work visa to her Canadian home. This cannot be, how will she be able to keep her nose to the grindstone if she isn't in the office and doesn't have her job? The solution looks to be a simple one, a sham marriage to her assistant, followed by a quickie divorce.

Caught off guard, Andrew is not quite sure how to respond, but decides to go along with the plan. Their troubles are further complicated by an INS officer intent on uncovering their deception. On top of that, the upcoming weekend brings with it a trip to visit Andrew's family and celebrate his Grammy's 90th birthday. This leads to all sorts of wacky fun as they attempt to deceive the family and avoid getting caught while also coming face to face with a new world of feelings they never saw before.

In the wrong hands, this story could definitely turned into a slog in the wrong hands. Fortunately, the team behind The Proposal now how to turn a line, and make a flat tale into something worth your while. Still, it is not a great movie, so keep your hopes in check.

What is it that makes it work at all? In the case of this movie, it is all about the cast. Ryan Reynolds and Sandra Bullock both bring charismatic, likable presences to the screen. They have a way of drawing your attention, and they have a way of bringing just the right tone to a performance, especially in this particular genre.

The screenplay, the first from Peter Chiarelli, has some pretty snappy dialogue, particularly for Ryan Reynolds whose sarcastic approach works wonders for the picture. Likewise, Bullock does a fine job of appearing imposing at work only to have her shell cracked when faced with the family she never had.

While the centerpiece of the story is the faux-engagement, there are moments that lurk around the edges that help round the film out and actually make the movie better than it probably deserves to be. There are the big, broad moments that make everyone laugh, such as the wet and naked encounter, the strip show, and the goofy dance in the woods, and they work just fine. These are the scenes that get people in the door and ensure they have not yet fallen asleep.

There are two threads which threaten the lighthearted base, one for each of the leads. With Reynolds' Andrew we learn of tensions between father and son. The disagreement is never right out in the open and is dealt with a nice subtlety that plays well of of the comedic segments. The interaction between Ryan Reynolds and Craig T. Nelson as his father works very well and comes off as genuine. As for Bullock, we watch her interact with Betty White's Grammy and Mary Steenburgen as Andrew's mother. This brings feelings of her past to light, having lost her family at an early age she never had a family. Sandra Bullock plays this well as we see Margaret begin to show some cracks in her tough exterior.

Bottomline. Overall, this is a delightful trifle of a movie that will quickly be forgotten a short way down the road. It will provide momentary escape with stars that we like and scenes that will make you laugh. It has a few moments that threaten deep thoughts, but they are fleeting. I find the movie hard not to like, while also recognizing how easily forgettable it is.

Mildly Entertaining.

CD Review: Transformers - Revenge of the Fallen the Score - Composed by Steve Jablonsky

In 2007 Michael Bay brought the 1980's series Transformers to the big screen in vivid, metal crunching fashion. The story was somewhat lacking, there was stupid comedy, and some bad acting, but it was still an exciting film. One of the positive things I took away from the film was the score by Steve Jablonsky. It was big, bombastic, and sounded very good. I remember checking store shelves for it and did not find it, I checked online and did not find it. What's the deal? It is a big release, it should have a score album, right? It turns out there were no initial plans and it took an online position to show the powers-that-be that a market did exist. It came out in the Fall of that year, and it turned out to be a great album. Fortunately, with the release of the second film, they chose not to wait four months to release it. The question is now whether or not it is any good.

The score, was composed by Steve Jablonsky and marks the third direct collaboration between Jablonsky and Michael Bay, beginning with The Island. He has also developed a relationship with Bay's production company, Platinum Dunes, having scored the remakes of The Texas Chainsaw Massacre (and its prequel), Amityville Horror, The Hitcher, and Friday the 13th. I have not heard those separately, but do not recall the scores as standing out that much, unlike his Transformers work, not to mention The Island. Jablonsky definitely knows how to step up for the big effects films and deliver the goods in the form of eminently listenable scores that work well even apart from their films.

This new score is not quite as strong as the original, but I think that would have been a tall order under any set of circumstances. That is not to say it doesn't deliver, it does, I just get the feeling that the original themes could have been used to stronger effect, as I only really noticed the Autobots theme used. That is not to say the new material is bad, just not quite as I had hoped.

We open in similar fashion to the first score, in heroic fashion. The first cue is called "Prime" and it is a slow burn sort of track that brings us back into the Autobot fold and prepares us for the return of the transforming heroes. It is followed by a weaker cue in "Einstein Was Wrong," which brings Sam Witiwicky into the story as he has his mental meltdown brought on by a shard from the All Spark left over from the first movie.

Track three features the collaboration of Jablonsky and Linkin Park on an instrumental version of "New Divide" (featured on the soundtrack album). This version is called "Nest" and it is a strong techno/rock/industrial cue that is big and heroic and fits the film nicely, and plays better than the original version. This is a cue I would have liked to have heard a little bit more of throughout.

Next up is "The Shard," this piece brings in a little darkness and, dare I say, tension to the mix. It then moves from darkness and tension straight into evil with "The Fallen," which is used to introduce us to this franchises version of Star Wars' Emperor. It is a slow cue that will definitely give you pause.

The flow continues as we move from tension, to evil, and now onto the epic. "Infinite White" with it' synth, strings, and soaring female vocals it is simultaneously soothing and foreboding. We need not wait long to discover what the bad guys have in store as we slip from the soothing into another cue dripping with dread in "Heed Our Warning" and leads into a very dark mid-section that runs through "The Fallen's Arrival" and "Tomb of the Primes."

The action ratchets up as we hit "Forest Battle." This plays with one of the bigger action pieces of the film and leads into a more upbeat and hopeful tone, with its use of the Autobots theme from the first film. It also brings us closer to the cue of hope that is "Matrix of Leadership."

Everything builds up the action packed finale "I Rise, You Fall." this plays with the Egypt battle and plays off the earlier evil as we get the heroic Autobot theme reigning triumphant.

Overall, this is a very good score that fans will want to have in their collection. Granted, I am still more likely to reach for the original (same goes for the movies), but there is no denying that the score is one of the high points of the movie and Steve Jablonsky continues to impress with his big movie scores.

As good as it is, it does seem to run short. We get 44-minutes of score from a movie that is nearly 2.5-hours long. There have to be missing cues here. It is the reverse situation of the soundtrack release, which had songs that were not in the film, in this case I suspect we are missing chunks of music that may have helped smooth this out, as it does jump around a bit.

Bottomline. You will not be disappointed. Of the two music releases for this film, this is definitely the one to get. This is a big score that bears no pretense of subtlety, it is exactly what you want from a score for a film whose stars are giant alien roots.

Highly Recommended.

CD Review: Transformers - Revenge of the Fallen the Album

Unless you've been living under a rock, you know that the first sequel to the box office juggernaut Transformers has just been released. In its first five days of release, it has taken in a massive $200 million. Hard to believe, isn't it? Well, the suits-that-be knew they had a behemoth on their hands and decided that they needed a collection of tunes from hot bands to bundle together and sell to the teens who have just been stunned into an awestruck state. They won't know what they're buying until it is too late, by then the money will be out of the kids' hands and into the suits' pockets, leaving the teens with a mediocre collection of mid-tempo tunes. It is a shame to, it sometimes feels like the art of the soundtrack is dying and is treated properly by very few.

That's right, Transformers: Revenge of the Fallen the Album is very middling in content with very little variety. All of the songs have a similar sound and a similar pace, right down the middle. The focus seems to be on trying to learn towards some sort of faux emotional impact with the likes of Theory of a Deadman, Green Day, and Cavo. I wonder if they thought the inclusion of these tunes would make up for the soulless script? You know, step in and create an emotional center where none is to be found. Too bad this collection's center does not have much of a center either.

Another odd thing about this soundtrack is that five of the songs are not even in the movie. Why have them at all? The only thing I can guess is they did not have enough songs in the album to fill out the release, so they went and got a few more like-sounding cuts. This is far from the first time I have seen this, and it never fails to puzzle me. A few will get artists to contribute new tunes and use the "Inspired by" tag, but that is not the case here.

As I listen to the album, it becomes abundantly clear that I am not the target audience for the release (you could probably tell that already). It is not that I have anything against any of these bands, it is more the bland way the soundtrack is put together, the lack of any real variation in the sound, and the way it is constructed around a couple hot bands.

None of the songs really stand out from the crowd. It is similar to listening to Top 40 radio, everything plays towards the middle, nothing jumping out and grabbing your attention (no wonder I avoid the radio).

It may seem like I am being overly harsh on the album, and that may be a little bit true as some of my distaste for the film is spilling over onto a new target. I do not mean to be. When it comes right down to it, this is a soundtrack where the sum is considerably less than the sum of its parts. There are a couple of decent songs on here, nothing mind blowing, but still songs that are worth a listen.

The disk opens with the movie's signature song, "New Divide" by Linkin Park. I am not the biggest fan of them, but this song strikes the right chord for the movie with its heroic sounding flow. This song also appears on the score album, integrated into one of Steve Jablonsky's cues. It is followed by Green Day's "21 Guns," a tune that just grates on me. It sounds like they are trying to be Weezer and failing. Cavo provides track three, and it is not a terribly good song, but the vocals are pretty good and strike me as one of the more genuine performances on the album.

Surprisingly, Nickelback delivers one of the more satisfying songs here. I say surprising because I do not think they are a particularly good band. The song is "Burn it to the Ground" and it is the only one that really attempts to inject some fire into the soundtrack. It has a surprisingly heavy (relatively speaking, of course) rhythm that is easy to groove to. It is followed by one of my favorite moments, The Used's take on The Talking Heads "Burning Down the House." Of course, I think it helps that I have always liked that song. This version gives it an industrialized spin that fits it nicely.

The latter portion does not provide much excitement as we move into the "*Not in Film" tracks, with the highlight being a song that is already two years old in Avenged Sevenfold's "Almost Easy."

Of course, I would be remiss if I did not mention the most Transformers -centric song here, Cheap Trick's new theme song. It is corny, silly, and fully in line with the 80's cartoon. I have to give it to these guys for putting it all out there with this one.

Bottomline. This isn't anything you should feel the need to run out for, but it could have been worse. If you are a fan of any of these bands and don't have these songs anywhere else, go ahead and give it a shot, otherwise feel free to take a pass. Not terrible, just a little to the lackluster side of the coin.

Not Recommended.


Track list: (*Not in Film)
1. Linkin Park- New Divide
2. Green Day- 21 Guns
3. Cavo- Let It Go
4. Taking Back Sunday- Capital M-E
5. The Fray- Never Say Never
6. Nickelback- Burn it to the Ground
7. The Used- Burning Down The House
8. Theory of a Deadman- Not Meant To Be*
9. The All-American Rejects- Real World*
10. Hoobastank- I don't think I Love You*
11. Staind- This Is It
12. Avenged Sevenfold- Almost Easy*
13. Cheap Trick- Transformers Theme*