That's right, cinephiles! I sold out, and got myself a Twitter page! Start following Will and the Movies on Twitter at @WillandMovies, and show it off to all your friends!
But the even bigger news is that I have accepted a position with the Examiner to be movie critic representative for Salt Lake City, UT!
The official page is http://www.examiner.com/movie-in-salt-lake-city/william-cohen!
It's been a dream of mine to get recognized for my hard work and knowledge of film, and this is a huge opportunity for me! I have all of my fans out there to thank for this!
Keep reading and keep watching!
Wednesday, August 22, 2012
Monday, August 20, 2012
In Memoriam: Tony Scott (1944-2012)
The news just came in this morning that famed director Tony Scott died from an apparent suicide earlier this morning in California. Reports are saying that he had jumped off the Vincent Thomas Bridge after parking his car, climbing the 8- to 10-foot fence, and leaping off without hesitation.
Tony Scott, brother of director Ridley Scott ("Prometheus", "Gladiator"), was also survived by his wife Donna W. Scott and his twin sons.
Tony Scott was known for directing intelligent, pulse-pounding action movies that not only featured everything that action lovers pine over (namely guns and explosions), but scripts that critics and audiences could love.
The first movie I saw of his was, of course, "Top Gun", which featured a then-virtually-unknown Tom Cruise and Meg Ryan in 1986. He then went on to direct "Enemy of the State", "Spy Game", "Domino", and the Denzel Washington movies "Man on Fire", "Deja Vu", "Unstoppable", and the remake of "The Taking of Pelham 1 2 3".
Scott was in the middle of making the long-awaited follow-up to "Top Gun" at the time of his death.
What makes Tony Scott's death a tragedy is because, unlike recent action films like "Battleship" and "The Expendables", Scott's films were clever, suspenseful, and overall wonderful. They didn't need any kitsch factor to them -- they stood on their own brilliantly. And even though "Top Gun 2" was getting maligned from the internet fanboys groaning about another unneeded sequel, I can almost guarantee it would have been an amazing movie as well.
Whatever caused Tony Scott to end his life so abruptly will more than likely be a mystery for some time (assuming they never publicly release the contents of the suicide note they found in his office). For now, let's just look at this for what it is -- a tragic loss of a brilliant filmmaker.
Godspeed, Tony Scott.
Tony Scott, brother of director Ridley Scott ("Prometheus", "Gladiator"), was also survived by his wife Donna W. Scott and his twin sons.
Tony Scott was known for directing intelligent, pulse-pounding action movies that not only featured everything that action lovers pine over (namely guns and explosions), but scripts that critics and audiences could love.
The first movie I saw of his was, of course, "Top Gun", which featured a then-virtually-unknown Tom Cruise and Meg Ryan in 1986. He then went on to direct "Enemy of the State", "Spy Game", "Domino", and the Denzel Washington movies "Man on Fire", "Deja Vu", "Unstoppable", and the remake of "The Taking of Pelham 1 2 3".
Scott was in the middle of making the long-awaited follow-up to "Top Gun" at the time of his death.
What makes Tony Scott's death a tragedy is because, unlike recent action films like "Battleship" and "The Expendables", Scott's films were clever, suspenseful, and overall wonderful. They didn't need any kitsch factor to them -- they stood on their own brilliantly. And even though "Top Gun 2" was getting maligned from the internet fanboys groaning about another unneeded sequel, I can almost guarantee it would have been an amazing movie as well.
Whatever caused Tony Scott to end his life so abruptly will more than likely be a mystery for some time (assuming they never publicly release the contents of the suicide note they found in his office). For now, let's just look at this for what it is -- a tragic loss of a brilliant filmmaker.
Godspeed, Tony Scott.
Monday, August 13, 2012
Movie review: "The Campaign"
While in college, I took a class called American Political Theater, where I learned the difference between commercial theater and political theater. Commercial theater is generally supposed to make you feel good by the end, while political theater is supposed to make you feel upset or angry, so you feel riveted to change the way things are.
This concept goes the same for movies as well, and, believe it or not, "The Campaign" is such a movie. Yes, it still has all the one-liners and overall silliness that the typical Will Ferrell movie has, but it also has that dark element to it that shows how politics truly are, and often makes the movie hard to watch. But, in the end, we know they're telling the truth.
Democratic congressman Cam Brady (Ferrell) is significantly down in the polls after some choice mishaps, but doesn't matter because he's running unopposed like he has for years. However, the Motch Brothers (John Lithgow and Dan Aykroyd) convince tour guide Marty Huggins (Zach Galifianakis) to run against Brady on the Republican ticket, causing Brady to have to campaign for the first time as a congressman. Brady's long-time campaign manager Mitch (Jason Sudeikis) is trying his best against all odds -- even when Brady is a complete idiot. Huggins' campaign manager Tim Wattley (Dylan McDermott), on the other hand, forces Huggins to change his life and play a little dirty so he can win. While mudslinging and creative campaigning ensues, both Brady and Huggins are left to figure out if they're doing it for the people...or to ensure the other guy doesn't get it.
Director Jay Roach ("Meet the Parents", the "Austin Powers" movies), along with screenwriters Chris Henchy ("The Other Guys", "Land of the Lost") and Shawn Harwell (feature film debut), make a reasonably intelligent film while ensuring fans of Will Farrell still pack the seats. You have all the filthy one liners ("I'm Cam Brady, and I seductively endorse this message" is one of the cleanest ones) and pratfalls of a typical Farrell movie, with actual political tension. It's quite the surprise.
Will Farrell and Zach Galifianakis are both great here. I'm usually not the biggest Farrell fan, but he does quite well here. Galifianakis plays his character of Marty Huggins with a bizarre child-like innocence and idealism against, well, the way things are, but manages to make the film funny, even in the darker emotional moments of the movie. The true gems here are Jason Sudeikis and Dylan McDermott. Watching Sudeikis play the straight man to Will Farrell is amazing, and McDermott is truly funny -- something I would never have imagined before this film.
The true genius of "The Campaign" is not the comedy itself, but where the comedy takes you. At first, it shows two completely incompetent gentlemen trying to get into congress, but then it becomes frighteningly real after awhile. Huggins accuses Brady of being a communist. Brady rouses up the crowds by asking why Huggins refuses to take a lie detector test -- when Huggins have never been asked in the first place. It's funny until it gets that real. Then it simply becomes to much to take. But that's what political movies are supposed to do. They aren't made to entertain, they're made to enlighten. They're meant to show what's going on around us and then ask the question "Is this something you're willing to live with?".
It was even more frightening to listen to the people around me laugh hysterically when reality hit, because it's not funny what's going on with the current campaigns with Obama and Romney, which are eerily mirrored to a degree in "The Campaign". Perhaps not everyone will get the underlying message of the film, but, even if a handful of people do, that can make all the difference.
FINAL VERDICT: "The Campaign" is a fairly funny but all-too-real look at modern politics. There are moments that will make you laugh at loud, but, if you actually see the correlation between this movie and what's going on with the 2012 presidential race, you might feel like you're the punchline.
Saturday, August 11, 2012
Movie Review: "The Bourne Legacy"
If Louis Leterrier has taught us anything, it's that reboot-sequels don't have to be bad. 2008's "The Incredible Hulk" was a very bizarre hybrid of reboot and sequel -- it had a brand new cast, but it was relevant to the story arc started by Ang Lee's arguably lesser "Hulk" five years prior. All you need to do is keep things feeling the same between the two movies, have a cast you know can act, have a solid script, and people will see the movie.
"The Bourne Legacy" is a different animal all together. It didn't have to compete with comparisons from one movie, but an entire trilogy (where each installment was a blockbuster nonetheless), and there are so many unanswered questions from that trilogy that complete Christopher Nolan-style reboot was out of the question. So, Universal Studios did the most logical thing -- pull a page from Leterrier's book and make a reboot-sequel (they did, after all, release "The Incredible Hulk"). The results are electrifying.
After a video of the heads of Treadstone and Outcome goes viral in light of rogue agent Jason Bourne's stateside return and subsequent disappearance (following the events of "The Bourne Ultimatum" perfectly), the Blackbriar Program is clearly in hot water. Now on damage control, Col. Eric Byer (Edward Norton) is forced to eliminate all remaining Outcome agents currently in the field to avoid further backlash. This includes Aaron Cross (Jeremy Renner), who's been on a training assignment in Alaska far from contact with the outside world. After surviving two drone attacks that were meant to kill him, Cross goes on the offensive.
While tracking down more of the blue and green pills that have made him "more enhanced" that Outcome has been giving him for four years, Cross manages to track down and save the life of Dr Marta Shearing (Rachel Weisz), the last loose end in the whole Outcome fiasco. In a desperate run for both of their lives (and in pursuit of a permanent solution to ensure Cross doesn't go through a dangerous withdrawl from the "blues" and "greens"), Cross and Shearing make a run to the Philippines, and try and stay one step ahead of Blackbriar's hands.
Writer/director Tony Gilroy ("Michael Clayton", "Duplicity"), teaming up for the first time with brother and co-writer Dan Gilroy ("Freejack", "Two For The Money"), is given the chance to ensure "Legacy" wasn't botched and ruined. Having written the original Bourne Trilogy adaptations from Robert Lundlam's novels, the elder Gilroy set the stage for the next chapter that is "Legacy", and knocks it out of the park. The story is very fast-paced and twisty, so make sure you're paying attention. But the results are no less than amazing here.
Jeremy Renner is an amazing choice for Aaron Cross. After proving himself in "The Hurt Locker" and "The Town", not to mention his astonishing turns in "Mission: Impossible Ghost Protocol" last year and "The Avengers" back in May, Renner proves that he can kick ass and still maintain not only a great screen presence, but great delivery. This is not him trying to be Matt Damon. This is not him trying to be any other character that we've seen him do before. This is Renner bringing a fresh new character to the table, making us beg for more long after the credits are rolling.
Let's not forget the supporting cast, though. Rachel Weisz holds her own well as Marta Shearing, and gets to kick a little ass of her own. Edward Norton is amazing yet again as Eric Byer, forgoing playing the good guy for once as he systematically takes out all the Outcome agents one by one, and refuses to sleep until Cross is dead. Returning from the original trilogy are David Strathairn as Noah Vosen, Scott Glenn as Ezra Kramer, and Joan Allen as Pam Landy, who, though only show up for brief moments, still manage to tie the film back to what we've already seen.
What makes "The Bourne Legacy" work is the fact that it's not trying to reinvent the wheel. Instead, it creates a wonderful new chapter from the book that seemingly was closed with the original trilogy. By delving deeper into what the actual consequences of Jason Bourne's actions mean for everyone, it fuels the fire for Cross to get his own storyline, which is gripping as a man trying to get his life back rather than a revenge story. I'm already wanting another sequel, and Universal would be stupid not to give it to us.
FINAL VERDICT: As much as I loved the original Bourne movies, "The Bourne Legacy" is an amazing evolution of the story. Instead of redoing what we already know, "Legacy" logically moves forward with a fantastic new leading man in Jeremy Renner with all the cloak-and-dagger elements (and, of course, epic car chase) that we loved in the previous three films. Robert Lundlam would be proud.
"The Bourne Legacy" is a different animal all together. It didn't have to compete with comparisons from one movie, but an entire trilogy (where each installment was a blockbuster nonetheless), and there are so many unanswered questions from that trilogy that complete Christopher Nolan-style reboot was out of the question. So, Universal Studios did the most logical thing -- pull a page from Leterrier's book and make a reboot-sequel (they did, after all, release "The Incredible Hulk"). The results are electrifying.
After a video of the heads of Treadstone and Outcome goes viral in light of rogue agent Jason Bourne's stateside return and subsequent disappearance (following the events of "The Bourne Ultimatum" perfectly), the Blackbriar Program is clearly in hot water. Now on damage control, Col. Eric Byer (Edward Norton) is forced to eliminate all remaining Outcome agents currently in the field to avoid further backlash. This includes Aaron Cross (Jeremy Renner), who's been on a training assignment in Alaska far from contact with the outside world. After surviving two drone attacks that were meant to kill him, Cross goes on the offensive.
While tracking down more of the blue and green pills that have made him "more enhanced" that Outcome has been giving him for four years, Cross manages to track down and save the life of Dr Marta Shearing (Rachel Weisz), the last loose end in the whole Outcome fiasco. In a desperate run for both of their lives (and in pursuit of a permanent solution to ensure Cross doesn't go through a dangerous withdrawl from the "blues" and "greens"), Cross and Shearing make a run to the Philippines, and try and stay one step ahead of Blackbriar's hands.
Writer/director Tony Gilroy ("Michael Clayton", "Duplicity"), teaming up for the first time with brother and co-writer Dan Gilroy ("Freejack", "Two For The Money"), is given the chance to ensure "Legacy" wasn't botched and ruined. Having written the original Bourne Trilogy adaptations from Robert Lundlam's novels, the elder Gilroy set the stage for the next chapter that is "Legacy", and knocks it out of the park. The story is very fast-paced and twisty, so make sure you're paying attention. But the results are no less than amazing here.
Jeremy Renner is an amazing choice for Aaron Cross. After proving himself in "The Hurt Locker" and "The Town", not to mention his astonishing turns in "Mission: Impossible Ghost Protocol" last year and "The Avengers" back in May, Renner proves that he can kick ass and still maintain not only a great screen presence, but great delivery. This is not him trying to be Matt Damon. This is not him trying to be any other character that we've seen him do before. This is Renner bringing a fresh new character to the table, making us beg for more long after the credits are rolling.
Let's not forget the supporting cast, though. Rachel Weisz holds her own well as Marta Shearing, and gets to kick a little ass of her own. Edward Norton is amazing yet again as Eric Byer, forgoing playing the good guy for once as he systematically takes out all the Outcome agents one by one, and refuses to sleep until Cross is dead. Returning from the original trilogy are David Strathairn as Noah Vosen, Scott Glenn as Ezra Kramer, and Joan Allen as Pam Landy, who, though only show up for brief moments, still manage to tie the film back to what we've already seen.
What makes "The Bourne Legacy" work is the fact that it's not trying to reinvent the wheel. Instead, it creates a wonderful new chapter from the book that seemingly was closed with the original trilogy. By delving deeper into what the actual consequences of Jason Bourne's actions mean for everyone, it fuels the fire for Cross to get his own storyline, which is gripping as a man trying to get his life back rather than a revenge story. I'm already wanting another sequel, and Universal would be stupid not to give it to us.
FINAL VERDICT: As much as I loved the original Bourne movies, "The Bourne Legacy" is an amazing evolution of the story. Instead of redoing what we already know, "Legacy" logically moves forward with a fantastic new leading man in Jeremy Renner with all the cloak-and-dagger elements (and, of course, epic car chase) that we loved in the previous three films. Robert Lundlam would be proud.
Wednesday, August 8, 2012
Movie Review: "Red Lights"
During Blockbuster Movie Season, releasing an independent movie is a mixed bag, so to speak. Like this year's "Moonrise Kingdom" and 2006's "Little Miss Sunshine", there are independent films that can thrive. Others get relegated into box office obscurity while the blockbusters have their day.
"Red Lights" is such a film. Currently only showing in 18 screens across the US (according to BoxOfficeMojo.com), "Red Lights" received little to no advertising domestically, so naturally it's making no revenue on our shores. And it's a shame, since it's possibly one of the year's best films.
Dr. Margaret Matheson (Sigourney Weaver) and Dr Tom Buckley (Cillian Murphy) are paranormal investigators out to debunk phony psychics and mediums -- from the John Edward-like stage performers to the private mediums who dupe simpletons into thinking their houses are haunted. In every case, as told to their grad student class at a university in New York, Margaret and Tom are able find each one as a fraud, causing them to believe that no one has any special ability at all. When Margaret asks for a challenge, Tom decides to challenge world-renowned psychic Simon Silver (Robert De Niro), who just came out of a 30-year retirement after his main skeptic/critic died suddenly and mysteriously in a heated confrontation. Despite warnings from Margaret and grad students Sally (Elizabeth Olsen) and Ben (Craig Roberts), Tom goes after Silver on his own. The deeper he goes in his investigation, the more Tom starts to realize that not only is Silver the real deal, but Silver has an agenda to mentally break Tom for his invasive behavior.
Writer/director Rodrigo Cortes ("The Contestant", director of "Buried") takes us on a psychological journey into the world of mediums and psychics, making us question what's real and what's not. From the atmospheric lighting to the sudden jumps that come with any great thriller, Cortes is definitely a filmmaker to watch for in the future.
Cillian Murphy is fantastic as Tom, showing he can headline a movie as well as be relegated to the supporting cast. His performance as the brash and hotheaded investigator harkens back to his breakout performance in "28 Days Later", and makes us remember why we love him as an actor. Robert De Niro is the other true treat of this movie as the dark, brooding (possibly sinister) Simon Silver. His subtle tone and sarcastic smirks make him the perfect film villain, and his performance here solidifies his status as legendary.
Though gravely mismarketed as a horror film, "Red Lights" is still a film not to be trifled with. At its core, the film is a wonderful look at the human psyche when it comes to subjects of faith and obsession. But let that no fool you. "Red Lights" is a psychological paranormal thriller in the vain of "Stir of Echoes" and "Donnie Darko" where you never know where the next jump is going to be coming from, and you're consistently asking yourself "What's going on?!?" until the very end. And with a surprise ending that would make M. Night Shayamalan do a double-take, "Red Lights" is that little treasure you'll be telling all your friends about.
FINAL VERDICT: Need a break from blockbusters? Want your mind blown? "Red Lights" is your ticket. This mind-bending thriller will keep you riveted until the exciting conclusion. Even though critics are blasting this film (remember...critics are the ones who liked "Blue Valentine" and "Prometheus"), "Red Lights" is going to be that film you hear about in a couple years that now has a cult following. And with Cillian Murphy, Robert De Niro and Sigourney Weaver, you know you can't go wrong.
"Red Lights" is such a film. Currently only showing in 18 screens across the US (according to BoxOfficeMojo.com), "Red Lights" received little to no advertising domestically, so naturally it's making no revenue on our shores. And it's a shame, since it's possibly one of the year's best films.
Dr. Margaret Matheson (Sigourney Weaver) and Dr Tom Buckley (Cillian Murphy) are paranormal investigators out to debunk phony psychics and mediums -- from the John Edward-like stage performers to the private mediums who dupe simpletons into thinking their houses are haunted. In every case, as told to their grad student class at a university in New York, Margaret and Tom are able find each one as a fraud, causing them to believe that no one has any special ability at all. When Margaret asks for a challenge, Tom decides to challenge world-renowned psychic Simon Silver (Robert De Niro), who just came out of a 30-year retirement after his main skeptic/critic died suddenly and mysteriously in a heated confrontation. Despite warnings from Margaret and grad students Sally (Elizabeth Olsen) and Ben (Craig Roberts), Tom goes after Silver on his own. The deeper he goes in his investigation, the more Tom starts to realize that not only is Silver the real deal, but Silver has an agenda to mentally break Tom for his invasive behavior.
Writer/director Rodrigo Cortes ("The Contestant", director of "Buried") takes us on a psychological journey into the world of mediums and psychics, making us question what's real and what's not. From the atmospheric lighting to the sudden jumps that come with any great thriller, Cortes is definitely a filmmaker to watch for in the future.
Cillian Murphy is fantastic as Tom, showing he can headline a movie as well as be relegated to the supporting cast. His performance as the brash and hotheaded investigator harkens back to his breakout performance in "28 Days Later", and makes us remember why we love him as an actor. Robert De Niro is the other true treat of this movie as the dark, brooding (possibly sinister) Simon Silver. His subtle tone and sarcastic smirks make him the perfect film villain, and his performance here solidifies his status as legendary.
Though gravely mismarketed as a horror film, "Red Lights" is still a film not to be trifled with. At its core, the film is a wonderful look at the human psyche when it comes to subjects of faith and obsession. But let that no fool you. "Red Lights" is a psychological paranormal thriller in the vain of "Stir of Echoes" and "Donnie Darko" where you never know where the next jump is going to be coming from, and you're consistently asking yourself "What's going on?!?" until the very end. And with a surprise ending that would make M. Night Shayamalan do a double-take, "Red Lights" is that little treasure you'll be telling all your friends about.
FINAL VERDICT: Need a break from blockbusters? Want your mind blown? "Red Lights" is your ticket. This mind-bending thriller will keep you riveted until the exciting conclusion. Even though critics are blasting this film (remember...critics are the ones who liked "Blue Valentine" and "Prometheus"), "Red Lights" is going to be that film you hear about in a couple years that now has a cult following. And with Cillian Murphy, Robert De Niro and Sigourney Weaver, you know you can't go wrong.
Sunday, August 5, 2012
Movie Review: "Total Recall (2012)"
I'm going to preface this review with this...remakes happen.
Call it a lack of originality in Hollywood or just the age old philosophy of "what's old is new again", it doesn't matter. They're going to be churned out in the form of "reboots" or "prequels" ("Prometheus", we're glaring at you), but, in the end, it's just a remake.
However, often you will get a remake that improves upon the original. "Total Recall" is such a film. You can boo, hiss, bitch and moan all you want. Just because it's a remake doesn't mean the original was that great to begin with.
Being a remake of the 1990 release of the same name, "Total Recall" starts off in the future after virtually all the planet has been destroyed by nuclear war. Now all that's left is the United Federation of Britain and, on the other side of the world, The Colony (basically Australia) -- connected by a subterranean mass transit system called The Fall.
Here we find Doug Quaid (Colin Farrell), a factory worker who is complacent with his life, but wants a little more for himself. His wife Lori (Kate Beckensale) tries her best to help him in his funk, but is often too tired from her job to spend quality time with him. Despite his better judgement, and his best friend at work Harry (Bokeem Woodbine), Doug finds his way to Rekall, a place where they implant memories in your head so it feels like you've been somewhere or done something that you normally wouldn't have been able to afford. However, moments before going under, the feds show up, shooting up the place. In a crazed panic, Doug manages to grab a gun and blasts his way out.
Later, he finds out that Lori is a covert agent for the government, Doug may be a spy named Carl Hauser, an operative for the resistance named Melina (Jessica Biel) is trying to keep him alive, and this all may have something to do with both resistance leader Mathias (Bill Nighy) and Chancellor Cohaagan (Bryan Cranston)...assuming any of this is real.
Director Len Wiseman ("Underworld", "Live Free Or Die Hard") and screenwriters Kurt Wimmer ("Utraviolet", "Equilibrium") and Mark Bomback ("Live Free Or Die Hard", "Godsend") go by the original screen story by scribes Dan O'Bannon and Ronald Shusett to go far and beyond the storytelling Ah-nold version took us. The action sequences look crisper and a hell of a lot more logical, where the writing is actually good.
Colin Farrell's performance is light years ahead of Schwarzenegger's performance in the original. Unlike Ah-nold, Farrell actually looks like an everyday guy stuck in the middle of this chaos. Kate Beckinsale is amazing as Lori, actually giving her the opportunity to brutally kick some ass instead of simply looking like a blonde bimbo (Sharon Stone, we're glaring at you). Jessica Biel is awesome as well as Melina, who manages to kick some ass herself.
Say what you want about the 90s version. It's bad. They took the short story from celebrated author Phillip K. Dick "We'll Remember It For You Wholesale", and bastardized it into a Schwarzenegger film about spies and aliens.
2012's "Total Recall" remedies all of that. Taking out the alien/Mars element from the script and focusing on a compelling story about government conspiracies and mistaken identity. What makes the movie compelling is Doug's journey to find out who he is. Farrell's performance immerses you in as you can see the agony he goes through with every passing moment. And there are moments of true beauty in the film that were completely absent from the original. At the beginning of the film, Doug wishes he could play the piano. So when he discovers he can play the piano after all, it's an amazing moment.
If you're a fan of the original, holding on to the fond memories of the 1990 film, it's time to let it go. This version is superior in every way.
FINAL VERDICT: Think you know "Total Recal"? You're only dreaming. Len Wiseman's daring vision of Phillip K. Dick's short story is a wonder to behold. Better writing, better performances, and a compelling story that doesn't take us Mars. Instead, it takes you on a trip into the human psyche. This is a great movie all-around.
Wednesday, August 1, 2012
Two-Cent Review: "Wanderlust"
**original release date: 2/24/2012**
Comedies are a crap-shoot to begin with. Making a comedy about hitting rock bottom is even more difficult for the most part. If you are to make a comedy about hitting rock bottom, and you're not willing to make it darkly humorous, you're going to have a problem in the end.
Such is the case with "Wanderlust". The movie is true to life in many ways, but it doesn't have the courage to go as dark as it needs to be to find any kind of relatabilty with its audience.
George (Paul Rudd) and Linda (Jennifer Aniston) just bought a new loft apartment in New York City. However, when Linda fails to sell her documentary about penguins with testicular cancer to HBO and George's company has now gone belly up thanks to the Feds doing an investigation on the owner of the company, George and Linda find themselves unemployed.
While on their way to Atlanta to stay with George's brother Rick (Ken Marino) and sister-in-law Marissa (Michaela Watkins), George and Linda stumble upon Elysium, a bizarre hippie commune where free love and anti-government sentiments roam free. George falls in love the place immediately, as well as the local color -- such as the absent-minded owner Carvin (Alan Alda), the stereotypical hippie Seth (Justin Theroux) whose literally still stuck in the 80s, and the nudist (Joe Lo Truglio) who makes his own wine and is working on his first novel.
Soon after deciding to stay, Linda starts falling for Seth, and George begins to yearn for the pleasures of the capitalist world he came from. Hilarity, of course, ensues...sometimes.
Director David Wain, who co-wrote the script with Ken Marino (both from "Role Models"), tried to recapture the fairly light-hearted funny that "Role Models" was. However, when the subject matter of the comedy is so close to home, light-hearted didn't quite cut it.
The main problem with "Wanderlust" is not just the fact it didn't go dark enough, but the characters really aren't that respectable. George and Linda are tremendous hypocrites about what their core values are. Seth is willing to sell out his friends for a Klondike bar. Marissa stays in an emotionally abusive relationship with Rick, whose cheating on her, by being an alcoholic. The movie, at a feels-too-long-sometimes 98 minutes, has some laughs here and there, but not enough to hold it in any high regard.
MY TWO CENTS: "Wanderlust" tries to wander into the realm of "Role Models" and "Knocked Up", but doesn't quite make the grade. As funny as Paul Rudd and Jennifer Aniston are in the film, it doesn't change the fact that it's a film that almost gets there. And this is one of the times that almost doesn't cut it.
Comedies are a crap-shoot to begin with. Making a comedy about hitting rock bottom is even more difficult for the most part. If you are to make a comedy about hitting rock bottom, and you're not willing to make it darkly humorous, you're going to have a problem in the end.
Such is the case with "Wanderlust". The movie is true to life in many ways, but it doesn't have the courage to go as dark as it needs to be to find any kind of relatabilty with its audience.
George (Paul Rudd) and Linda (Jennifer Aniston) just bought a new loft apartment in New York City. However, when Linda fails to sell her documentary about penguins with testicular cancer to HBO and George's company has now gone belly up thanks to the Feds doing an investigation on the owner of the company, George and Linda find themselves unemployed.
While on their way to Atlanta to stay with George's brother Rick (Ken Marino) and sister-in-law Marissa (Michaela Watkins), George and Linda stumble upon Elysium, a bizarre hippie commune where free love and anti-government sentiments roam free. George falls in love the place immediately, as well as the local color -- such as the absent-minded owner Carvin (Alan Alda), the stereotypical hippie Seth (Justin Theroux) whose literally still stuck in the 80s, and the nudist (Joe Lo Truglio) who makes his own wine and is working on his first novel.
Soon after deciding to stay, Linda starts falling for Seth, and George begins to yearn for the pleasures of the capitalist world he came from. Hilarity, of course, ensues...sometimes.
Director David Wain, who co-wrote the script with Ken Marino (both from "Role Models"), tried to recapture the fairly light-hearted funny that "Role Models" was. However, when the subject matter of the comedy is so close to home, light-hearted didn't quite cut it.
The main problem with "Wanderlust" is not just the fact it didn't go dark enough, but the characters really aren't that respectable. George and Linda are tremendous hypocrites about what their core values are. Seth is willing to sell out his friends for a Klondike bar. Marissa stays in an emotionally abusive relationship with Rick, whose cheating on her, by being an alcoholic. The movie, at a feels-too-long-sometimes 98 minutes, has some laughs here and there, but not enough to hold it in any high regard.
MY TWO CENTS: "Wanderlust" tries to wander into the realm of "Role Models" and "Knocked Up", but doesn't quite make the grade. As funny as Paul Rudd and Jennifer Aniston are in the film, it doesn't change the fact that it's a film that almost gets there. And this is one of the times that almost doesn't cut it.
On The Record: Reel Big Fish, "Candy Coated Fury"
It seems like the 90s are all coming back in full force these days. Hell, why not bring in a ska album? Ska is dead? Not quite, as luck would have it. Being a trombone player, I've been a huge ska fan for years, and, when I found out my boys in Reel Big Fish were coming out with a new album -- the first in three years -- I was excited!
"Candy Coated Fury", the first original album they've put out since 2007's "Monkeys For Nothin' and the Chimps For Free", shows the band in a stunning return to form. Originally, I thought the album couldn't possibly be as good as the others with the recent absence of Scott Klopfenstein, the band's main trumpet player and harmony vocalist (think of him as Paul McCartney to lead vocalist and main songwriter Aaron Barrett's John Lennon). After hearing this album, I realize that Reel Big Fish is all Barrett and whoever he wants as his backing band.
New harmony vocalist and saxophone player Matt Appleton (the first sax player the band has had since their debut album "Everything Sucks"), formerly of Goldfinger, is displayed very well on this album on such tracks as "Don't Let Me Down Gently" (a cover from The Wonder Stuff) and the instrumental track "Don't Stop Skankin'", which predominantly features Appleton on the baritone sax. He fits in perfectly where Klopfenstein had left a hole in the band. It's like he was there the entire time, and the band never skips a beat.
Reel Big Fish couldn't be better here. Aaron Barrett's angry, sardonic lyrics continue to match perfectly with the rest of the band's SoCal party music to create fun, often hilarious tracks that will have you dancing and singing along...even when the lyrics are "I try to live my life, but everyone else is an asshole". And yes, the song is called "Everyone Else Is An Asshole".
Much like the classic RBF song "She Has A Girlfriend Now", the track "I Know You Too Well To Like You Anymore" is a fast-paced duet about a failed relationship, this time with Julie Stoyer from the up-and-coming band Dick and Jane. This song is a blast to listen to, even when the lyrics are scathing on both sides of the relationship. "You're a slut/you're a dick/you're a whore/you're a prick/you make me fucking sick...but I love you". If you think I'm joking, listen to the album. Truly classic RBF, indeed.
Of course there are the other ten tracks here, from the reggae-themed "Hiding In My Headphones" (which features Laila K and Barney Boom from the band Sonic Boom Six and Coolie Ranx, who showed up on their 2002 album "Cheer Up!"), the anti-relationship song "Your Girlfriend Sucks", to the stronger-than-you-think-I-am anthem "I Dare You To Break My Heart". All the songs are superb in the whole 55 minutes this album is running.
Even if you don't like ska, Reel Big Fish's album "Candy Coated Fury" is still a wonderful album for angry songs to dance and sing to. The sarcastic lyrics mixed with the upbeat tone of the music will keep you happy long after the album is done. Even if it makes you happy simply based on the fact you're better off than the poor schmuck in the lyrics.
Video Back-Log: "Warrior"
**originally release: 9/9/2011**
I'm probably not the only one whose been on a Tom Hardy kick lately because of "The Dark Knight Rises". Seeing that I've already seen quite a bit of his work ("Layer Cake", "Star Trek: Nemesis", "Inception", "Tinker Tailor Soldier Spy", "This Means War"), I didn't have to go far to play catch up with last year's "Warrior". Once again, I was not disappointed.
Taking place in the world of MMA (mixed martial arts, for those who are not sports savvy...like me) fighting, "Warrior" tells the story of two brothers who enter the ring for different reasons. Brendan (Joel Edgerton) -- high school physics teacher and loving husband/father -- finds himself upside down in his mortgage, desperately trying to make ends meet, and about to foreclose on his house. Tommy (Hardy), a former Marine, comes home embittered and cold, looking for something to do with his anger, stumbling upon a gym where they train MMA fighters and becoming an instant YouTube sensation after easily defeating popular fighter Pete "Mad Dog" Grimes (Erik Apple). While Tommy relies on the training of their newly sober father (Nick Nolte), Brendan, a previously seasoned UFC fighter, turns to old friend Frank (Frank Grillo) to get him ring ready -- much to the chagrin of his wife Tess (Jennifer Morrison), who would rather be broke and homeless before seeing Brendan go back to fighting for a living.
Director Gavin O'Connor ("Pride And Glory", "Miracle"), who co-wrote the script with writer Anthony Tambakis (feature film debut) and Cliff Dorfman (also his feature film debut, but was a staff writer for HBO's "Entourage"), brings us a story of MMA fighting, making these muscle-heads look human. Though it mainly focuses on Tommy and Brendan and the trials they go through to make it to the big competition at the end of the film, the other fighters are shown briefly as well, allowing their personalities to show through, allowing them to appear human, for better or worse. In the end, it is a sports movie, of course, but it's one that is fairly compelling.
Nick Nolte earned a lot of attention for this movie, garnering an Oscar nomination for his role as Paddy Conlon. And he's good here, don't get me wrong. But what kept me glued to the screen was both Joel Edgerton and Tom Hardy. Tom Hardy, instead of being brash and sarcastic like in a lot of his movies, is dark, brooding, and drop-of-a-hat violent, easily trashing his opponents and leaving the ring without a victory dance or acknowledgment of any kind. Joel Edgerton, who has been making quite the name for himself lately starring in "The Thing (2011)" and the upcoming "The Odd Life of Timothy Green", has an amazing screen presence, while giving a very minimalist performance.
Of course, "Warrior" is about the MMA bouts. The wonderfully choreographed fight scenes are incredible, though a bit tough to watch at times. It's the same kind of brutality you'd find in "Fight Club" (perhaps just a bit more athletic appearing), but, when you realize that people actually do this to one another in an actual cage match and get paid for it in real life, it makes the action all too real. If that makes me a wuss, then get me a pink tutu and tiara. I don't care. Hearing the bones crunching and the fists slapping against bare skin becomes a bit overwhelming knowing that this is actually happening to someone as we're talking about the film. In the end, I was cheering as much as the rest of the cast in the final battles leading up to the end, but it's a hell of a bloody journey getting there. And the relationships with the characters are quite compelling, making it a good movie overall.
FINAL VERDICT: Though sometimes an arduous task to get through the film at times, "Warrior" is a great movie. I can't say that I'll be watching any UFC bouts any time soon, but the film is a compelling, stirring look at the world of MMA fighters, and the hell they have to go through both in the ring and in their personal lives to do what they do. It's definitely worth viewing, but, if you're at all squeamish, you have been warned.
I'm probably not the only one whose been on a Tom Hardy kick lately because of "The Dark Knight Rises". Seeing that I've already seen quite a bit of his work ("Layer Cake", "Star Trek: Nemesis", "Inception", "Tinker Tailor Soldier Spy", "This Means War"), I didn't have to go far to play catch up with last year's "Warrior". Once again, I was not disappointed.
Taking place in the world of MMA (mixed martial arts, for those who are not sports savvy...like me) fighting, "Warrior" tells the story of two brothers who enter the ring for different reasons. Brendan (Joel Edgerton) -- high school physics teacher and loving husband/father -- finds himself upside down in his mortgage, desperately trying to make ends meet, and about to foreclose on his house. Tommy (Hardy), a former Marine, comes home embittered and cold, looking for something to do with his anger, stumbling upon a gym where they train MMA fighters and becoming an instant YouTube sensation after easily defeating popular fighter Pete "Mad Dog" Grimes (Erik Apple). While Tommy relies on the training of their newly sober father (Nick Nolte), Brendan, a previously seasoned UFC fighter, turns to old friend Frank (Frank Grillo) to get him ring ready -- much to the chagrin of his wife Tess (Jennifer Morrison), who would rather be broke and homeless before seeing Brendan go back to fighting for a living.
Director Gavin O'Connor ("Pride And Glory", "Miracle"), who co-wrote the script with writer Anthony Tambakis (feature film debut) and Cliff Dorfman (also his feature film debut, but was a staff writer for HBO's "Entourage"), brings us a story of MMA fighting, making these muscle-heads look human. Though it mainly focuses on Tommy and Brendan and the trials they go through to make it to the big competition at the end of the film, the other fighters are shown briefly as well, allowing their personalities to show through, allowing them to appear human, for better or worse. In the end, it is a sports movie, of course, but it's one that is fairly compelling.
Nick Nolte earned a lot of attention for this movie, garnering an Oscar nomination for his role as Paddy Conlon. And he's good here, don't get me wrong. But what kept me glued to the screen was both Joel Edgerton and Tom Hardy. Tom Hardy, instead of being brash and sarcastic like in a lot of his movies, is dark, brooding, and drop-of-a-hat violent, easily trashing his opponents and leaving the ring without a victory dance or acknowledgment of any kind. Joel Edgerton, who has been making quite the name for himself lately starring in "The Thing (2011)" and the upcoming "The Odd Life of Timothy Green", has an amazing screen presence, while giving a very minimalist performance.
Of course, "Warrior" is about the MMA bouts. The wonderfully choreographed fight scenes are incredible, though a bit tough to watch at times. It's the same kind of brutality you'd find in "Fight Club" (perhaps just a bit more athletic appearing), but, when you realize that people actually do this to one another in an actual cage match and get paid for it in real life, it makes the action all too real. If that makes me a wuss, then get me a pink tutu and tiara. I don't care. Hearing the bones crunching and the fists slapping against bare skin becomes a bit overwhelming knowing that this is actually happening to someone as we're talking about the film. In the end, I was cheering as much as the rest of the cast in the final battles leading up to the end, but it's a hell of a bloody journey getting there. And the relationships with the characters are quite compelling, making it a good movie overall.
FINAL VERDICT: Though sometimes an arduous task to get through the film at times, "Warrior" is a great movie. I can't say that I'll be watching any UFC bouts any time soon, but the film is a compelling, stirring look at the world of MMA fighters, and the hell they have to go through both in the ring and in their personal lives to do what they do. It's definitely worth viewing, but, if you're at all squeamish, you have been warned.
On The Record: "Rock With The New"
Stepping away again briefly from movies, this week I found a few highly notable albums. Six of them. And four of them from bands you may not know about yet, but will now. For those who love good rock, this is definitely the article for you.
SAVING ABEL, "BRINGING DOWN THE GIANT"
Since their debut single "Addicted" landed on rock radio four years ago, Saving Abel has been making quite the name for themselves. Their new album "Bringing Down The Giant" shows that their still maintaining the smooth-yet-angry tone that have made them so popular. Many tracks here are very similar to their self-titled debut album, like the soulful "Bittersweet" and the angst-driven title track.
The album takes a strange turn early on with "Pine Mountain (The Dance of the Proud Poor Man)", an bizarre bluegrass instrumental that leads into the song "You Make Me Sick", an angry bluegrass-rock hybrid (complete with banjo, Jew's harp, and incredible vocal harmonies) that shows Saving Abel exploring their musical range a bit -- something that causes a lot of similar bands to falter. Whether it pays off for them in the long run is yet to be seen, but "Bringing Down The Giant" is definitely a great rock album from a smaller band.
TREMONTI, "ALL I WAS"
Best known for being the lead guitarist and songwriter for Creed and Alter Bridge, Mark Tremonti brings his long-awaited solo album to a crushing fruition. Bringing his six-string and picking up a mic, Tremonti unleashes twelve self-written tracks with his new band consisting of former Submersed guitarist and drummer Eric Friedman (who does rhythm guitar, bass, and backup vocals) and Garrett Whitlock respectively.
The best part? This really sounds nothing like either Creed or Alter Bridge. From the stunning first track "Leave It Alone" and the heavy-hitting "Brains" to the amazing ballad "The Things I've Seen", all featuring Tremonti's blistering guitar solos and surprisingly powerful vocals. This is the most surprising album from a solo artist I've heard in a long time.
FOXY SHAZAM, "THE CHURCH OF ROCK AND ROLL"
With their rousing breakout self-titled album, Foxy Shazam showed that the spirit of Freddie Mercury lives on in lead singer Eric Nally. Backed by guitarist Loren Daniel Turner, bassist Daisy, keyboardist Schuyler Vaughn White, horn player Alex Nauth, and drummer Aaron McVeigh, Foxy Shazam mixes Queen-like anthem rock with gospel-like choir vocals that makes old new again in the best of all possible ways.
With their new album "The Church of Rock and Roll", Eric and the boys get a little darker and more personal with more brutal guitars and honest lyrics. There are songs like their last one, such as "I Like It" and "The Streets", where you get radio-friendly anthems you can dance to. But then you get songs like "Welcome To The Church Of Rock And Roll" where the heavy guitars and drum hits that make you want to get up and shout. A very eclectic album from a very eclectic group.
EYE EMPIRE, "IMPACT"
Supergroups come and go, but the music will never die. Eye Empire is the latest hard rock/metal supergroup to rise up. Unlike previous supergroups like Audioslave and Velvet Revolver, Eye Empire is a band whose members are not widely known, so egos more than likely won't be clashing. Vocalist Donald Carpenter (Submersed), guitarist B.C Kochmit (Dark New Day), bassist Corey Lowery (Dark New Day, also the producer and mixer of the album), and drummer Ryan Bennett (Texas Hippie Coalition) make up the band.
"Impact", the group's unofficial debut album, is a highly impressive first outing. Mixing the hard rock anthemic sound of Disturbed with the melodic sensibilities of Alter Bridge, Eye Empire shows no mercy and stands out on soaring anthems like "Angels and Demons (Be My Angel)" and "I Pray", angry mosh-pit inspiring "Bull In A China Shop", and the earnest "Hopeless". Sevendust singer Lajon Witherspoon even makes an appearance on the blistering "Victim".
The album took all the tracks from it's very limited release "Moment of Impact", and re-released it with a second CD complete with 7 new songs, 2 live tracks, and 3 acoustic tracks. Don't let the acoustic tracks fool you, though. The music is still crushing even with acoustic guitars, and the entire 2-CD set is not only a treat for any hard rock fan, but extremely cheap too (Best Buy and Amazon have it for $7.99)!
3 PILL MORNING, "BLACK TIE LOVE AFFAIR"
I recently stumbled upon 3 Pill Morning on Facebook when an ad came up proclaiming "Like My Darkest Days? Check out 3 Pill Morning!". Even though I'm a fan of My Darkest Days, I can honestly say this is not an accurate comparison -- mainly because these guys are so much better than that.
"Black Tie Love Affair" is 3 Pill Morning's third album, and it's one hell of a record to break out with. Though not as hard rock as Tremonti or Eye Impact, the band has an angst-driven hard rock sound reminiscent of American Hi-Fi or the now-defunct Matthew Good Band.
Vocalist Jeff Stebbins' voice soars over tracks like "Rain", "Daddy's Little Girl", and the first single from the album "Loser", while the rhythm section -- made up of guitarist/keyboardist Ryan Walch, bassist/backing vocals Charlie McCoy, and drummer Trent Laugerman -- mix punk and hard rock sensibilities together to make a sound that's perfect for radio, but, as far as I know, hasn't been featured highly there yet.
Seeing that this band has already opened for bands like Sevendust and aforementioned Saving Abel, you can be assured that 3 Pill Morning is the next big band.
GHOSTS OF AUGUST, "GHOSTS OF AUGUST"
This is a band I stumbled upon while browsing music on Amazon. Currently, it's an album that they'll burn onto a CD before shipping to you. That should tell you right there how independent Ghosts of August is.
Another band that's more lyrical than music driven (though definitely harder rock than 3 Pill Morning), Ghosts of August's self-titled debut is quite an impressive feat. The first single "Disease" (which has apparently been getting a lot of air time on Sirius radio stations and is starting to appear on more conventional radio charts) is the perfect marriage of anger and melody. The next single "Scars" ups the aggression, harkening to bands like Sevendust or Drowning Pool. However, the band has its tender moments, too, like with the track "Broken", that is clearly sung more from the heart than the other tracks.
Already climbing the charts and sharing the stage with acts like Attack Attack! and The Devil Wears Prada, Ghosts of August are already on their way to becoming a household name in hard rock.
Supergroups come and go, but the music will never die. Eye Empire is the latest hard rock/metal supergroup to rise up. Unlike previous supergroups like Audioslave and Velvet Revolver, Eye Empire is a band whose members are not widely known, so egos more than likely won't be clashing. Vocalist Donald Carpenter (Submersed), guitarist B.C Kochmit (Dark New Day), bassist Corey Lowery (Dark New Day, also the producer and mixer of the album), and drummer Ryan Bennett (Texas Hippie Coalition) make up the band.
"Impact", the group's unofficial debut album, is a highly impressive first outing. Mixing the hard rock anthemic sound of Disturbed with the melodic sensibilities of Alter Bridge, Eye Empire shows no mercy and stands out on soaring anthems like "Angels and Demons (Be My Angel)" and "I Pray", angry mosh-pit inspiring "Bull In A China Shop", and the earnest "Hopeless". Sevendust singer Lajon Witherspoon even makes an appearance on the blistering "Victim".
The album took all the tracks from it's very limited release "Moment of Impact", and re-released it with a second CD complete with 7 new songs, 2 live tracks, and 3 acoustic tracks. Don't let the acoustic tracks fool you, though. The music is still crushing even with acoustic guitars, and the entire 2-CD set is not only a treat for any hard rock fan, but extremely cheap too (Best Buy and Amazon have it for $7.99)!
3 PILL MORNING, "BLACK TIE LOVE AFFAIR"
I recently stumbled upon 3 Pill Morning on Facebook when an ad came up proclaiming "Like My Darkest Days? Check out 3 Pill Morning!". Even though I'm a fan of My Darkest Days, I can honestly say this is not an accurate comparison -- mainly because these guys are so much better than that.
"Black Tie Love Affair" is 3 Pill Morning's third album, and it's one hell of a record to break out with. Though not as hard rock as Tremonti or Eye Impact, the band has an angst-driven hard rock sound reminiscent of American Hi-Fi or the now-defunct Matthew Good Band.
Vocalist Jeff Stebbins' voice soars over tracks like "Rain", "Daddy's Little Girl", and the first single from the album "Loser", while the rhythm section -- made up of guitarist/keyboardist Ryan Walch, bassist/backing vocals Charlie McCoy, and drummer Trent Laugerman -- mix punk and hard rock sensibilities together to make a sound that's perfect for radio, but, as far as I know, hasn't been featured highly there yet.
Seeing that this band has already opened for bands like Sevendust and aforementioned Saving Abel, you can be assured that 3 Pill Morning is the next big band.
GHOSTS OF AUGUST, "GHOSTS OF AUGUST"
This is a band I stumbled upon while browsing music on Amazon. Currently, it's an album that they'll burn onto a CD before shipping to you. That should tell you right there how independent Ghosts of August is.
Another band that's more lyrical than music driven (though definitely harder rock than 3 Pill Morning), Ghosts of August's self-titled debut is quite an impressive feat. The first single "Disease" (which has apparently been getting a lot of air time on Sirius radio stations and is starting to appear on more conventional radio charts) is the perfect marriage of anger and melody. The next single "Scars" ups the aggression, harkening to bands like Sevendust or Drowning Pool. However, the band has its tender moments, too, like with the track "Broken", that is clearly sung more from the heart than the other tracks.
Already climbing the charts and sharing the stage with acts like Attack Attack! and The Devil Wears Prada, Ghosts of August are already on their way to becoming a household name in hard rock.
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