Death From Above 1979 - You're A Woman, I'm a Machine

The album that I will be reviewing today is the only full length album Death From Above 1979 released before breaking up. And, after the announcement that the band will be reuniting at this year's Coachella festival, I felt that it would be a good opportunity to revisit the album, and see how well it holds up.

DFA1979 formed in 2001, made up of duo Sebastien Grainger on drums and vocals, and Jesse Keeler on Bass/Background vocals. A literal drum’n bass group, with the occasional synthesizer thrown in, the band played dance inspired punk/metal, wanting to see how far they could go with that style. They played their first show in front of 12 people in Long Island, and their last show was in front of 12,000 people in Calgary. They’ve played with Nine Inch Nails, Queens of the Stone Age, Metric, Billy Talent and Alexisonfire, usually as the opening act. Yet, as they were getting more and more exposure, Grainger and Keeler were growing apart, rarely speaking to each other except for interviews and before shows. Due to growing apart as friends, and the dreaded “Creative Differences,” DFA1979 broke up in 2006.

Their album immediately established themselves as a band to watch on the crowded indie rock scene. You’re a Woman, I’m a Machine hits you from the beginning like a punch to the face, and keeps pummelling you for a half hour before strutting away in celebration. Subtlety is not an option for Jesse or Sebastien, musically or lyrically. It’s an all out aural assault; loud, blunt, and to the point. Exactly how rock and roll should be. This album sounds like it was recorded live, in that it adequately captured the energy of one of the bands stage shows. This is something that often gets lost when recording certain bands.



You’re a Woman, I’m a Machine had crossover appeal. Not only was it heavy enough for moshing, but because it was based around drum and bass (the two rhythm parts of a full band), it was groovy enough for hipster kids to dance to, especially in the case of the album closer, “Sexy Results.” Tony Manero could strut along to this. One of the downfalls to a band based around two instruments is that there are only so many sounds you can create before it begins to sound the same. Thankfully, the album is short enough so it doesn’t get dragged down in monotony.



Death From Above 1979’s sound can be heard in many of today’s underground bands. It can be argued that without DFA1979, there would be no Titus Andronicus, Pack A.D., or My Sister Ocean, as all these bands owe a debt of influence on their sound to DFA.  I don't know whether or not this reunion at Coachella is a one time thing, or whether it will turn into something more, but either way, I'm still excited. If it wouldn't set me back $2,000, I'd be in California this April.

Author's Note: Sorry for the delay in posting. I've been really swamped lately, and suffering from a case of writer's block. My next entry will likely be a film review, either The Social Network, or The Outsiders.

Review: Wilco - Yankee Hotel Foxtrot (2002)

This is the first time that I will review an album for this blog, and I have chosen one of my top three favourite albums to be the inaugural review.  

Wilco formed in 1994 after the demise of Alternative country band Uncle Tupelo. Their first album, A.M. was criticized for being too similar to their previous sound. Their next two albums, Being There and Summerteeth showed hints of growth, merging their previous sound with more alternative/experimental rock elements. They've been dubbed the American Radiohead, pushing the boundaries of their genre, shunning simple categorization. While popular with critics, and having decent album sales, they weren't huge sellers like their new label president expected. Remember, this was in the early part of the 2000's, where it wasn't unusual for an artist to sell 1 million albums in their first week.

In 2001, shortly after recording of Yankee Hotel Foxtrot was completed, Wilco came into conflict with Reprise Record's (A subsidiary of Time Warner) new president David Kahne. Kahne felt that they new album was horrible, was not marketable, and that if Wilco released it, they'd be committing career suicide. Lead singer Jeff Tweedy refused to budge or make any changes, resulting in Wilco being dropped from Reprise. The band managed to negotiate a buyout of their contract, which included the rights to Yankee Hotel Foxtrot.  The band began to stream the record on their website after some tracks leaked, while touring and searching for a new label. They eventually settled on Nonesuch Records, another subsidiary of time Warner, finally releasing it in 2002. So, in essence, Time Warner paid for the album twice. Ridiculous, but that was the story of the music industry in the past decade.

So, the album had a lot of hype surrounding it, but could it live up to it? Who would be vindicated at the end, Kahne or Wilco?

"I Am Trying to Break Your Heart" opens the album. It is the second longest song on the album, at 6:56, and lets the listener know what they can expect. It's built around a simple three-chord guitar melody mixed with some electronic sounds juxtaposing the traditional with the avant-garde. Lyrically the song doesn't make sense at first, with lines "I am an American aquarium drinker" and "take off your bandage cause I don't believe in touchdowns," but it becomes more clear as the song builds to its climax, Tweedy saying "I'm the man who loves you" over feedback.  Wilco songs peak around seven minutes long, with more on that later.

The album moves back and forth between experimental rock pieces, songs that are more influenced by their earlier sound, and occasionally combining the two together. "Kamera" and "Jesus etc." are more traditional songs, but have strong songwriting to make them feel less like filler. In addition to being the most accessible songs, they are also some of the strongest tracks on the album. "War on War" and "Ashes of American Flags" start off like folk rock songs, but midway through, switch into something different completely, electronic effects taking over, completely changing the mood. The unsung hero of this album is Jim O'Rourke, who produced and mixed the album alongside the band.  Anybody can add electronics, noise, and samples to their songs, but it takes a skilled producer and mixer to make it sound coherent.

There is a flaw on the album, and it concerns the last two tracks, "Poor Places" and "Reservations." Remember earlier when I said that Wilco songs peak around seven minutes?   Otherwise, you end up with "Reservations", which is seven and a half minutes long, with over half of it being just noise. The first half of the song is fine, but the end keeps going on and on. Ideally, the track would have either been cut in half, or completely cut from the album. "Poor Places" however, feels more like an ideal conclusion to the album, ending with a loop of feedback and a sampled voice repeating the album's title. But, this complaint is minuscule, and does not reduce my enjoyment of this album.

Wilco won out in the end. Yankee Hotel Foxtrot finished high on many critic's "Best of the year list," was named one of the top albums of the decade by Rolling Stone magazine (#3 if I recall), and is also Wilco's best selling album to date, being certified Gold. I wonder if David Kahne was fired for kicking Wilco off the label. It's proof that many music executives are out of touch with what the public wishes to listen to, which is why overall sales have slipped. I know that we can't change the habits of most of the buying public, who prefer the musical equivalent of a Big Mac and Fries, but there is s a growing majority of people who like to be challenged by the music they listen to. They want something different from the norm, something that they haven't heard before. Start catering to that group.

This album is one of my top five favorite albums of all-time. Strong musicianship and lyrics, incredibly polished, hits an emotional core, and unlike anything I've ever heard before. Fans of Radiohead, Pink Floyd, Neutral Milk Hotel, or Arcade Fire should give this album a listen.

Top Ten Albums of 2010

Author's Note: Happy New Year everyone!

First of all, I realize that it has been over 8 months since I've posted any entry in this blog. One of my new years resolutions is to become a more active blogger. Blogging is one way for me to improve my writing, and will allow me to avoid stagnating as a writer.

2010 was one of the better years for music that I can recall. In my lifetime, I think that only 2000, 2001, and 2004 come close to matching the amount of quality music released this year. As a result, it made narrowing down items for my list difficult.

My list is simply a list. The only reward for artists on the blog is bragging rights. My influence on sales will likely be minimal, due to the small size and limited readership of this blog. Rankings were decided based on my enjoyment of the album. I went back and forth on the order of the rankings, but I am satisfied with the order now. Suggest your favorites in the comments section.

Here we go.

1. Titus Andronicus - The Monitor (XL)

It was back and forth between this album and Arcade Fire for the number one spot. But what made me choose The Monitor over The Suburbs was the following reason:

Arcade Fire already established themselves with Funeral. When I first saw the band, I thought that there was no way these guys could be successful. They dressed like they just stepped out of the 1890’s. There were 8 members in the group. The cello was a main component of their sound! But, I listened to their album. The music was great; it connected on a level that no other band had been able to do before, and they’ve continued to expand upon Funeral. I’m sure that they could release an album that only contains the sounds of photocopiers and printers and it would still be successful (note to Win, Regine, and the gang: please don’t do this). We expect greatness from the band every time they head into the studio or headline major festivals.



Titus Andronicus, however, I was questionable about. Their 2008 debut The Airing of Grievances had some really good songs, but really fell apart towards the end. Their second album sounded interesting based on a few samples, and I ended up buying it based on two reviews. Within a minute after putting it in my CD player, it grabbed a hold of me, and refused to let go until I finished the album.



Like Funeral, The Monitor is comprised of elements that really should not work. A loose Civil War concept. Spoken word interludes between songs, read by Craig Finn (The Hold Steady) and Cassie Ramone (Vivian Girls). Only two songs under 5 minutes in length. The closing song clocks in at 14 minutes, and features bagpipes, saxophones, and assorted percussion. I’m worried that the album is going to fall apart like Grievances. But it doesn’t. Every portion fits into place. The Civil War is used as a metaphor for modern American discord, and the struggle of the individual and a homogenizing society. You get caught up in the music that you don’t even notice that they’ve been rocking out for six minutes. And when “The Battle of Hampton Roads” comes to a close, you’ll want to start the album from the beginning.



9 months later, when most indie bands fade into obscurity, replaced by the “next big thing”, this album still holds up. The best album of 2010.



Favorite tracks: “A More Perfect Union,” “No Future Part Three: Escape From No Future” “Theme from ‘Cheers’” “The Battle of Hampton Roads” (every once in a while).

2. Arcade Fire- The Suburbs (Merge)

The Suburbs and The Monitor compliment each other nicely. Both deal with the conflict between conformity and individuality, but while Titus Andronicus take the “let’s firebomb the institution” approach to the struggle, Arcade Fire are like “hey guys, let’s think this through.”

I’ve joked about Arcade Fire before, saying they’re what will happen when you don’t have the heart to kick your friends out of the band, and that they can record anything and people would talk about how profound it is, but in all seriousness, I’m happy for their success. They’ve grown a lot since Funeral, and have refined their style since then. This time, taking their influence from such artists as Neil Young, Bruce Springsteen and Depeche Mode, they combine those sounds into something original. A lesser-band would focus solely on the negative aspects of suburbia, but Arcade Fire is not a lesser band. They handle the subject with maturity, and I believe this may be the first album that examines suburban life from a parent’s perspective, not just focusing on the kids. At times, cynical and soul-crushing, but also hopeful and empathetic, The Suburbs is still one of the best albums of the year despite its number two ranking on my list. If you want to put it at number one, I won’t hate you.



P.S. Some reviews have compared the album to Radiohead’s masterpiece OK Computer, but we need to wait a few years to see if it holds up.
P.P.S. Arcade Fire Drinking game: Take a drink everytime "The kids" is mentioned in the songs.



Favorite Tracks: “The Suburbs” “Ready to Start” “Rococo” “Deep Blue”

3. The Black Keys – Brothers (Nonesuch)

Everyone in my social circle (but mainly Marc and Jeff) loved this album. I’ll admit, the obnoxious album cover initially turned me off. But, open mind and whatnot. I’m a fan of that garage-rock style, and Brothers filled that quota, and exceeded it.

The most impressive thing about this album is that despite the potential for songs sounding the same (a common criticism of this style), each song feels distinctive and unique, setting itself apart from the others. In addition, this album is the perfect summer album, designed for watching sunsets from your porch at the cottage, or splashing in the pool on the hottest day of the year.



Favorite Tracks: “Next Girl,” “Tighten Up,” “Howling for you” “Sinister Kid”



4. Film School – Fission (Hi-Speed Soul)

I first discovered Film School in 2007 when I started volunteering at CKUW. I actually wrote down the title of their CD at the time (Hideout), and bought it later. Amazing album, despite the feedback interludes that I felt were unnecessary, and a little too much like My Bloody Valentine. I worked backwards, finding their albums (still working on finding all of Brilliant Career, but it is out of print), and was worried that they had broken up when no new material had come from them for two years (with the exception of a cover song for a shoegaze tribute album). But, in 2010, they revealed that they had gone independent and were working on their new album. I was anxious to hear it, especially after the release of the first song “Heart Full of Pentagons.” Even being delayed for a month (a result of signing with Hi-Speed Soul) couldn’t stop my excitement.

It is a noticable change in style from their previous albums. There is still a My Bloody Valentine influence, but mixed with Metric and Yo La Tengo. Keyboards and synthesizers are more prominent on this album, giving it more of a dance rock and pop influenced sound, and bassist Lorelai Plotcyzk became a more prominent vocal presence. Despite these changes, it still feels like a Film School album, containing some of their old trademarks (abstract lyrics, layered guitars), but refining their sound into something different,. They became more accessible with this release, and are poised to reap success that they deserve with this album.

Favorite tracks: “Heart full of Pentagons” “Waited” “Distant Life” “When I’m Yours”



5. The National – High Violet (4AD)

If you release one of the most critically acclaimed albums of 2007, how do you ever hope to follow it up? Take what worked for you the last time, and go from there.



High Violet is an album that is beautiful despite its bleakness (god damn, that sounded pretentious). Musically and lyrically, it is a darker album than Boxer (and remember, that wasn’t the most cheerful album to begin with), but still contains enough optimism to avoid making it completely gloomy. Still, this is a nighttime album through and through. Musically strong, with everyone in the band at the top of their game, it sticks with you for days after listening to it, and lyrically top notch. It’s hard to explain why I keep coming back to this album, but it has wormed its way into my playlist this month. I wonder if it is due to the winter, and the mindset I am in right now. Still, a great album, and that is three in a row for the band. They have huge expectations for the follow-up.

Favorite tracks: “Anyone’s Ghost” “Afraid of Everyone” “Bloodbuzz Ohio” “Vanderlyle Crybaby Geeks”



6. The Pack A.D. – We Kill Computers (Mint)

Moving away from their blues roots, Becky Black and Maya Miller fully embrace a hard rock sound on their third album. An aural assault on the listener, this record is loud, grungy, and holds nothing back. Two women, armed with a guitar and drums, rock harder than most bands on active rock radio these days. Easily the heaviest album of the year.



Favorite tracks: “Deer” “1880” “Big Anvil” “K Stomp”



7. Drive-By Truckers – The Big To-Do (ATO Records)

Drive-By Truckers were a band I got into the year before, after watching a repeat of their appearance on Austin City Limits. They straddle a fine line musically, containing enough twang to appeal to country listeners, but still a rock band first and foremost. Their eighth studio album is more accessible this time around, taking more influence from Tom Petty. The stories contained in the songs, such as “This Fucking Job” and “Birthday Boy” are more universal in their scope, and deal with issues in the present rather than the past. Musically, the addition of Jay Gonzalez on piano also differentiates the album from its predecessors. Music today needs more piano or organ. It always adds something to a band.



Favorite songs: “The Fourth Night of my Drinking,” “Birthday Boy” “This Fucking Job” “Eyes Like Glue”



8. Vampire Weekend – Contra (XL)

If you looked up “stereotypical indie band” in the dictionary, you’d probably find a picture of Vampire Weekend. A bunch of Ivy league grads, influenced by worldbeat and reggae, writing songs about the oxford comma. You should hate the based on the description! But, in 2008, they managed to become the next big thing in indie music. But, the question was whether or not they were just a flash in the pan, like many bands before.



Then, Contra was released. It felt more like a Vampire Weekend album, rather than an album of their influences. Ezra Koening used his voice as another instrument to the sound, working it over various samples and sound scapes. They carefully blend worldbeat, surf music, arena rock, and good old fashioned pop into one of the more enjoyable albums of the year. In addition, "California English" contains the best use of Autotune ever.



Favorite tracks: “Horchata” “California English” “Giving up the gun.” “I Think ur a contra”



9. Trent Reznor & Atticus Ross – The Social Network (Null)

Yes, I’m a Trent Reznor fan boy. Yes, this is the score to the movie. But, one of Reznor’s strengths is making emotional music without having to sing a word. It adds to the movie (one of the best of 2010), and is one of the most memorable aspects of it. And, this album works well without the context of the movie as ambient music. I have it on in the background as I’m writing this.



Favorite tracks: “Hand Covers Bruise” “In Motion” “Magnetic” “In the Hall of the Mountain king”



10. Dr. Dog – Shame, Shame (ANTI)

Very retro inspired sound, with shades of 1960’s pop and psychedelic. This is a summertime record that I enjoy more with each listen. And I’m tired of writing, so this shall remain brief.


Favorite tracks: “Stranger” “Shadow People” “I Only Wear Blue” “Mirror, Mirror”

***
Here is the list. Check these albums out, and support these bands.

What were your favorite albums of 2010? Recommend me some albums.












Prom Night In Mississippi (2009)

Authors note: I started writing this review on April 10. I was anticipating it being finished by the next day. But, as it often is, the best laid plans of mice and men often go arwy. I finished half of the review, but was unable to finish the other half until about five minutes ago. My real life got in the way, and I have been busy. My goal is to become more regular with this blog in the coming months.
Also, I'm not really happy with the way this review is written. I do not feel that it is my best work. But check it out anyway, and tell me what you think. Now that I've gotten that message out of the way, (and everyone has likely stopped reading by now), on with the review:


I’m a fan of documentaries. They are always interesting to watch, shedding light on interesting people and events. I also watch documentaries that bring important issues to the forefront of the Western consciousness, that call for changes in the way our society acts. Prom Night in Mississippi, directed by Paul Saltzman, falls into the latter category, with a story of discrimination that is sadly still common today.

I watched the documentary this week after reading the latest news story about Constance McMillen. McMillen, for those who haven’t been paying attention, went to the administration of the Itawamba County School District asking permission to take her girlfriend to the senior prom and to wear a tuxedo. How does this school district in 2010 respond? By canceling the prom and trying to blame McMillian for it. After rightfully getting sued by the ACLU for this, the school reinstates the regular prom, but organizes a private prom for the rest of the student body, presumably so they don’t have to be in the same room as a same-sex couple. Total number of students attending the school sponsored prom: seven. The theme of separate proms runs both in the film and this recent news story, showing that some places in America still have a long way to go before equality for all can be achieved.

Charleston, Mississippi was one of the last places in America to desegregate high schools (this happened in 1970). But, one of the last things that remained segregated was the senior prom. The schools would hold a prom for both black and white students. In 1997, Morgan Freeman, a resident of Charleston, heard about this, and spoke out against these proms. He even made the school board an offer – he’d pay for the prom if they integrated it. He was turned down. Students started to pressure the school board, and finally, in 2008, the school accepted Freeman’s offer.

The documentary looks at the struggles that people had in making the integrated prom a reality. The school and students have to deal with pressure from certain groups of parents and students, who don’t want the prom to go on. Some students, who were speaking out against the racism, were interviewed in shadow, obviously worried about the potential harm that could happen to them if their identity was public. Many of the students were open to the idea of the prom. It was the parents that were against it. A group of white parents even held a whites-only prom in private, similar to what happened in the McMillan case. Saltzman is unable to film inside the white-prom, but finds a creative way around it. Whenever Saltzman can’t film an event, the film will shift in art style. He will have a person relate what happened, and show the events in stylized comic form. It is a creative idea for a documentary filmmaker to use in order to work around the limitations he may encounter.

There is one really interesting story in the film, concerning the interracial couple at the prom. The film interviews the father of the white girl, who is going to the prom with her black boyfriend. The father admits that he is prejudiced, and he has problems with his prejudice, but he will do anything for his daughter. It is powerful stuff, and gives the documentary an emotional centre.
At the end, the prom goes well. Prom Night in Mississippi was an interesting film, and very eye-opening. It shows that we still have a long way to go for true equality to happen, but we see that each passing generation is making changes, and doing their best to make bigotry a thing of the past. But, work still needs to be done to ensure that everyone, regardless of race, gender, or sexual orientation, are able to receive the same rights that the majority of the population has.

Nick and Norah's Infinite Playlist (2008)

The next movie that I have decided to review is a different one. It didn’t make as big of a splash at the box office as other movies, it wasn’t an award winning movie, and stars quite possibly the most disliked actor today. But, Nick and Norah's Infinite Playlist kind of holds a special place in my heart; it was a movie that reminds me of my last relationship; just two young kids bonding over music. Of course, the relationship ended a few months after we watched the movie, but I haven’t let this cloud my perception of the film. It’s a flawed film; many films are, but I enjoyed it.

Right away, you can tell that the filmmaker’s were going for a Juno vibe. The first person you see is one of the film’s co-stars, Michael Cera. There is a partially animated opening credits-sequence with similar font. The soundtrack is comprised of seemingly every band deemed “Best New Music” on Pitchfork.com, and a couple of these artists appear in the film (Devendra Banhart and Bishop Allen). It even has Diablo Cody style wannabe dialogue that you can’t imagine anyone would say in real life. Perhaps that is a reason why the film didn’t do as well at the box-office as it should have.

Cera plays Nick, the only straight member of the queercore band The Jerk-Off’s. At the start of the movie he has been dumped by his girlfriend Tris (Alexis Dziena), who, as revealed later, has been cheating on him for their entire relationship. Nick still hasn’t gotten over the relationship, and keeps making mix-CD’s for Tris. She doesn’t appreciate them. Norah (Kat Dennings), thinks Nick is the coolest guy ever based solely on his music taste. The two of them meet by accident at the Jerk-Off’s show after Norah asks Nick to pretend to be her boyfriend for five minutes. Both Nick and Norah’s group become intertwined over the course of the evening, searching for a mysterious band, and Norah’s drunken friend Caroline (Ari Graynor), while avoiding the temptations of their former flames (Jay Baruchel plays Norah’s on and off boyfriend who uses her for her connections), and their latent feelings for each other.

I know it is the cool thing to hate Michael Cera these days. He has played the same basic character since Arrested Development, and he is dangerously close to the overexposure that ruined Jon Heder’s career. Though to be fair, I don’t think he has a lot of say in the scripts that he is offered, and opinion on him could change when Scott Pilgrim is released in theatres this summer. Still, there are few young actors who can pull off the nerdy, awkward guy with the dry sense of humor like he can (Jesse Eisenberg is the closest in my opinion). Kat Dennings should be a bigger star than she is right now. Her and Cera have great chemistry together, a feature that is lacking in many romantic comedies these days.

The movie is lively, fitting for its subject matter. When watching it, it feels like one of those wild nights you spend with friends running around the city. The dialogue, while awkward in spots, feels more authentic than anything Diablo Cody has written. I can actually believe that people would talk this way, which I didn’t feel while watching Juno. The movie, while not completely approaching the level of one, felt like a John Hughes style comedy, focused more on emotion and authenticity, rather than cheap sight gags (though there is the matter of that gum…)

Finally, I feel that I need to address the supporting performances, specifically Thom and Dev, Nick’s band mates; hats off to the filmmaker’s for presenting gay characters as real human beings. They never feel stereotypical, or have scenes that say “Look at them! They’re gay and wacky!” I’m getting sick of the gay friend stock character that talks with a lisp and doles out relationship advice.

Nick and Norah’s Infinite Playlist is based around a formula. You know how it is going to end, but it’s all about the ride. It is an injection of heart into a standard story. It isn’t the greatest movie in the world, but it never fails to leave a smile on my face.

Lost In Translation (2003)

First thing I'll say: This is an awesome poster. I wish that there was a way to get a print of this poster that wouldn't set me back $100. Not to knock the other poster, which is awesome and can be viewed here, I just prefer this one. It's colorful, eye catching , and lets face it, Scarlett is a little easier on the eyes that Bill Murray in a bathrobe.




I remember wanting to see this film when I was fifteen. I was wanting to develop a more sophisticated taste in films that my peers, and I was also interested in the art of cinema. I ended up buying the movie when it was released on DVD, and I watched it in the afternoon when I got home.



I shut it off after 20 minutes. My God it was boring. Time to go back to the populist movies that everyone liked. Fuck the Academy.



I held onto the DVD for some reason. I don't know why. Maybe fate. so, flash forward to my summer as a sixteen year old. We didn't have air-conditioning installed in my house yet, and the heat made it unbearable to sleep in my room. So, I did what I always did whenever it was too hot; I took my pillow and blanket and camped out on the couch in my basement. I still couldn't sleep, so I decided to put a movie on, and I noticed Lost in Translation on the shelf. I grabbed it and put it on, knowing that I'd be asleep in 20 minutes.


It didn't happen.



I stayed up late at night, totally engrossed in the movie. I don't know why I did; maybe my tastes matured, maybe the film is better at night. I don't know. I fell asleep at night with pleasant dreams of Tokyo and Scarlett Johanssen. This movie kick started my interest in the country of Japan and my crush on Scarlett Johanssen, but everybody knows that already.



Enough about my personal bullshit, I'm going to talk about the movie. Lost In Translation is about two people in Japan. Bob Harris (Bill Murray) is an American actor getting paid $2 million to appear in a Suntory Whiskey commercial. Bob is very much washed up, doing the commercial for the money, when he "really wants to be doing a play somewhere." His marriage is lacking communication; his wife sends him carpet samples and faxes him to let him know he forgot his son's birthday. Charlotte (Johanssen) is 25 years old, a philosophy graduate from Yale, who is tagging along with her photographer husband (Giovanni Ribsi). Charlotte is wondering about her purpose in life, and whether or not her marriage was the right thing to do. Bob and Charlotte meet by chance at the hotel bar, and a friendship develops. They decide to make the most of their time together in Tokyo, hanging out and having adventures around the city.
Most of the humor that occurs in the film is based around the culture shock of Japan. One example During the commercial shoot, Bob is getting instructions in Japanese from the director in Japanese (and his instructions are not subtitled, so unless you speak Japanese, you are as lost as Bob is), and he gets a pithy translation. Here is the exchange:
Director [in Japanese, to Bob]: Mr. Bob. You are sitting quietly in your study. And then there is a bottle of Suntory whiskey on top of the table. You understand, right? With wholehearted feeling, slowly, look at the camera, tenderly, and as if you are meeting old friends, say the words. As if you are Bogie in Casablanca, saying, "Here's looking at you, kid," -- Suntory time!
Interpreter [In English, to Bob]: He wants you to turn, look in camera. O.K.?
(beat)
Bob: Is that all he said?


Director and Screenwriter Sofia Coppola made very wise choices with this film. She never once falls into the romantic movie cliches. Bob and Charlotte's relationship is very much platonic. Sex between the two of them never comes up (it would be gross, considering Scarlett was only 18 when this movie was made). It is a relationship of understanding, of similar circumstances, and a connection that you may only make once in your life. The film deals more with concepts such as loneliness and relationships, and not being where you want to be in your life.



This is the role that Bill Murray will be remembered for. It was written with him in mind, according to Coppola. There is a lot of subtlety to his performance. He could very easily turn on his charm and crack jokes for the entire crew in Japan, but his body language suggests that he is tired and not willing to be Bob Harris, Hollywood star and life of the party anymore. Bob Harris was written with Bill Murray in mind, and Coppola has gone on record saying if he didn't sign on, she would not have made the film. Scarlett, at 18, does a great job exploring the nuances of being young and unsure of yourself. I think the phrase "wise beyond their years" is such a cliche, but it is appropriate here to describe her performance. Ribsi is in a supporting role, along with Anna Faris as a ditzy Hollywood actress, but they are both superb in the small amount of screentime they're given. Supposedly, they are based on Spike Jonze, Coppola's ex husband, and Cameron Diaz, though Coppola denies this.



Two more things help make this film enjoyable. First, the cinematography is absolutely stunning. It gives Tokyo a real dream like quality, especially at night. Secondly, the soundtrack, consisting of shoegaze artists like Death in Vegas, The Jesus and Mary Chain, and Kevin Shields, also adds to the dreamy effect, allowing the viewer to get lost in the movie.



Lost In Translation is one of those movies that needs to be watched in multiple sittings in order to appreciate it. It takes a while for it to unfold, but it is worth it in the end. It is one of those films that works best when watched alone, allowing you to think about life and what you want from it. If I recommend one film that everyone should watch, this it the one.

The Blind Side (2009)

I figured that a good choice for my first review would be the most recent movie that I watched. My mom bought two movies this week, and this was the only one that I would actually watch with her. (The other movie was New Moon. Ugh. Can’t believe my mom likes that garbage).

Back to The Blind Side. When I first saw previews for the movie, I rolled my eyes. It looked like a schmaltzy, Hallmark presents movie with a higher budget and bigger stars. The kind of movie that has a future being played on cable television following reruns of Friends. But, it had strong word of mouth, was a sleeper hit at the box office, and managed to score Sandra Bullock her first Academy Award. So, there had to be at least something good about it. The Academy is still about quality, right?

The Blind Side is based on the second half of a novel of the same name. It focuses on Michael Oher (Quinton Aron), who currently plays for the Baltimore Ravens. Michael has had a rough life. His mother was a crack addict, and he has been in and out of foster homes. He is an outsider at the all-white Christian school he attends. He is poor, and seemingly unmotivated in the classroom. A number of his teacher’s have given up on him. Things look bleak for Michael, until one night, while walking home, he is stopped by the Tuohy family. Mother Leigh-Ann (Sandra Bullock) offers him the opportunity to stay at her home, and Michael accepts. With the help of the family, Michael gets a new lease on life, and finds a place where he belongs.

Due to his hulking size, Michael is a natural pick for the football team, but has difficulty mastering the rules of the game. Leigh-Anne, in an effective scene, teaches Michael to use his protective instincts (the one area in his aptitude tests where he scored in the 98th Percentile) and pretend that the team is his family. This motivates Michael, and soon University’s are recruiting him. But, Michael needs to raise his GPA to meet minimum levels so he can go to a Division 1 college. I’ll stop talking about the plot here. Needless to say, you have a good idea of how it will end, considering Oher is a starting left tackle for a decent NFL team.

Sandra Bullock has had one of the most inconsistent film careers ever. She’s like able, and has enough charisma to make a movie watchable, but she tends to pick poor material as often as she comes across a good script. For every Speed and Miss Congeniality, there is a Premonition and an All About Steve alongside it. She even produced that latter flick, ending up with a Razzie Award the night before she won the Oscar (She actually accepted the Razzie in person). But, she gives the performance of her career so far in The Blind Side. I’ve come across women like Leigh-Ann, the middle-aged Christian sports mom, and she basically nails that personality type. There is a fair bit of depth to her performance, and none of the melodramatics that are common in these types of roles. She instead plays it subtle, letting the viewer realize there is more to Leigh-Anne than blonde hair and a cross around her neck. Whether her performance was better than the other actresses nominated, that is another question. I’ll answer it when I watch the other films.

There are good supporting roles. Kathy Bates is her usually reliable self as Michael’s tutor. Quinton Aron had a very difficult role to pull off as Michael. It takes a lot of skill to play a young man that is so traumatized by his past that people think he is a mute or stupid, and then to finally open up. He does it well, and I am interested to see if he gets more work. And I still have difficulty recognizing Tim McGraw without the cowboy hat or goatee, but he was okay in the film.

The movie is padded in several spots, and it could have been trimmed down to improve the pacing. The brief subplot of whether Michael really wanted to go to Mississippi State or whether the Tuohy’s influenced him to go there was introduced and resolved in such a small amount of time that one wonders whether or not it could have been left on the cutting room floor. But, I find it to be a rather small complaint for this movie. The movie itself is a little formulaic, but the formula works, so I’m not complaining. You’ll feel happy when you see the actual footage of Michael Oher being drafted and celebrating with his adoptive family.

Despite the flaws, The Blind Side is a solid movie, worth a rental for the strong performance of Sandra Bullock. Here’s hoping that there is another performance inside Bullock in the future.