3 Reviews

You're Living All Over Me - Dinosaur Jr.   

    Very few musicians today can actually speak with their instruments.  Of course there are many talented guitarists playing today, but how many of them would you be able to recognize if you heard something new from them?  On Dinosaur Jr.'s 1987 album You're Living All Over Me, guitarist J. Mascis seals his identity as one of the most important guitarists of the last 30 years.  The album's wall of sound production, as well as the emotions pouring out of every song, make the album as fresh as it was nearly 25 years ago.
    From the opening chords of "Little Fury Things," you know you're in for something interesting.  Using a wah-wah pedal, unheard of for a band on SST Records, Mascis builds upon layers of beautiful distortion.  Between his shrieking melodies, Lou Barlow's thundering bass, and Murph's powerful drumming, Dinosaur Jr. sound like Nick Cave if he listened to more Kiss than Leonard Cohen.  This onslaught of melody and power barrels through for the rest of the album, never letting up until the closer, "Poledo."  Sung by bassist Lou Barlow with only an acoustic guitar (a sign of what was to come with his side project Sebadoh), it trades the aggressive emotion of rockers like "Sludgefeast" and instead lays everything out on the table.  With lines like "My stomach always hurts/Milking your attention/For the little it is worth," it's evident that Barlow is crying out for help.  The raw feeling in the lyrics adds to the album's timelessness.   
    The album became the blueprint of indie rock guitar for the next decade, as seen in Nirvana and Pavement.  After You're Living All Over Me, the original Dinosaur Jr lineup recorded Bug before Lou Barlow left the band.  He returned in 2005, and the group has since recorded two albums, but none have come close to their 1987 masterpiece. 

Punch-Drunk Love

    Who would have thought Adam Sandler could actually act?  Apparently Paul Thomas Anderson did.  The writer/director, coming off the 3 hour cancer drama Magnolia, wanted to do something small and sweet for his next project.  So in 2002, Anderson released Punch-Drunk Love, a 90 minute romantic dramedy that is anything but small.     
    Punch-Drunk Love is the story of a man as he grows to find love.  Barry, played by Adam Sandler, is basically what happens to Billy Madison after he loses dependence from his father and friends.  Sandler is the same man-child he has always played, but here there is a reason for his behavior.  Having grown up around 7 emotionally abusive sisters, Barry is shy and alone until he meets Lena (played by Emily Watson).  What ensues is a colorful journey, full of deep blues and bright reds, a mysterious harmonium, and blond brothers out to rob Barry.  The previously mentioned colors are what make the film unique: they almost become characters themselves.  The red's come to represent Lena and the love she brings to Barry, while his own blue suit as well as plain white office represent his loneliness.  Jon Brion's fabulous score puts us inside Barry's head, which is at once nervous and romantic.
    When people talk about Paul Thomas Anderson, they frequently mention the influences of his films, from the Scorsese playground of Boogie Nights to the Kubrickian There Will Be Blood.  The film obviously debts itself to French New Wave, but it isn't easy to pinpoint where the director is pulling from.  So, in a way, Anderson has made his most original film yet.  Punch-Drunk Love is a film full of surprises and a joy to watch.

The Demolished Man by Alfred Bester

    Good science fiction never ages, and that's exactly what Alfred Bester's 1954 novel The Demolished Man does.  57 years later, it still holds up as one of the definitive sci-fi stories, going on to inspire countless other books and films.  Written two years before the Phillip K. Dick story that would be the basis for Spielberg's Minority Report, it also precedes the cyberpunk boom of the 1980's.  So what is it that makes The Demolished Man so influential?
    Well for starters, Bester's novel is actually a crime story tucked under a veil of extrasensory perception and flying cars.  It is the story of Ben Reich, CEO of Monarch Enterprises, who sets out to murder rival business man Craye D'Courtney after rejecting a merger of their two companies.  The twist comes in the fact that there hasn't been a murder in seventy years, due to Espers (short for extrasensory perception) working in law enforcement as well as the outlaw of weapons.  Espers function in all levels of society, so Reich decides that to carry out his plan he needs the help of a telepathic psychiatrist named Augustus Tate.  What follows is a high stakes game of cat and mouse between Esper detective Lincoln Powell and Reich, who if caught may be sentenced to Demolition, a process which is discussed but never revealed until the final pages. 
    What's great about The Demolished Man is that you become so enveloped in the story that the speculative aspects of the story become second nature.  You believe the world in which you're immersed could be real because the emotions and actions of the characters are so plausible.  The novel speculates man's animal instincts: it seems that controlling murder and the use of weapons has been effective, but at a certain point it doesn't seem to last.  Luckily, The Demolished Man will always be an effective read: it's extremely entertaining yet never loses it's speculative nature. 

/Film: http://www.slashfilm.com/

    Many websites try to push what's "cool."  What's cool can be someone's idea of something obscure or something that has been shared a million times already.  Sometimes, they can take a tone of "Listen: this is what you should look at."  This is especially the case for a lot of sites about film.  Sometimes, they can be snooty and cater basically to themselves.   /Film (Slash-Film) is not one of those sites, even though they have a section of their website devoted to "Cool Stuff."
    /Film is a blog that features the latest news on movies, ranging from the obscure to the "biggest movie event of the year" type films.  It began with stories about celebrities and typical movie news, but as the site's fan-base grew it focused more on genre films and almost anything related to film.  Originally /Film had about twenty writers which it whittled down to seven, and it has benefitted from these decisions.  Today, Senior Editor Peter Sciretta has had his reviews quoted in various television spots for films, and the weekly /Film podcast has drawn guest reviewers such as Kevin Smith and Brick director Rian Johnson. 
    The layout is nothing spectacular.  There is the generic news feed, but it can be split into Casting, Comic Books, Sci-Fi, and Horror among others.  Then there are reviews, trailers, and soon there will be a calender filled with upcoming releases.  What probably draws many cinephiles to /Film is the "Cool Stuff," where writers post t-shirts, memorabilia, pictures, the things that a casual reader might brush over.  This is where the site draws in its readers.  Rather than be full of themselves and present something as a
    What the site lacks in presentation, it makes up in its writing.  Like most blogs, it has a very laid-back feel to it.  What's special about /Film is how care free it is.  Where most people try to cater to one specific type of moviegoer, /Film truly follows its slogan: "Blogging the reel world."  Want to know what's going on with the NC-17 rated Michael Fassbinder movie, or do you just want an update on The Dark Knight Rises?  Chances are you'll find it on here.  In addition to the simplicity of the website, it is also interesting to check out because of the passion the writers have for the subject.  Many of them are aspiring filmmakers who will pass on work of other young artists. 
    It's easy to forget that 20 years ago, news didn't travel at the speed it does now, let alone film news.  Back then, you might hear about a movie, but you wouldn't be able to see it until maybe years down the road.  The guys at /Film know this, and it shows.  The writers seem like they were the kids who grew up reading movie magazines, always anticipating something new and exciting.  With this website, the writers create an easily accessible arena where film fans of all ages can keep up to date. 

Burn Notice - "Pilot"

   When the USA Network's Burn Notice was entering its fourth season, Saturday Night Live aired a skit about a game show called "What Is Burn Notice?"  The show was the eighth highest rated cable show, had been on for four years, and yet no one could say what it was about.  One contestant on the fictional game show answers "Is it like NCIS?", but after asked for further explanation he replies "I don't know." 
    While the skit may have been playing on the fact that so many people don't know about this highly rated television show, it also examines how so many shows are carbon copies of the same three shows.  Often times it's hard to distinguish what show you are watching.  CBS basically has three versions of CSI airing every other night, as NBC does with Law & Order.  This may be a golden age of television, but there are still a number of clunkers hanging around. 
    Upon first glance, Burn Notice may look like it could air right after NCIS.  But judging from the pilot, this is not one of those kinds of shows.  To answer everyone's questions, Burn Notice revolves around Michael Westen (played by Jeffery Donovan), a spy who has been "burned" by his agency.  A burn notice means that life as you know it has been taken away: his bank accounts are frozen and all of his previous contacts won't explain the burn notice.  Receiving his notice while on a mission in Nigeria, he ends up in Miami, where he grew up.  Luckily, he has the help of friends Sam (the always great Bruce Campbell) and his ex-girlfriend Fiona, a former IRA affiliate.  When Westen isn't trying to figure out who put the burn notice on him, he makes money by helping out people who can't go to the police with their problems.  But finding out the source of the burn notice or making money aren't the most of Westen's problems.  As he returns to Miami, he must confront his hypochondriac mother (unaware of his profession) who makes him drive her to the doctor's.  
    One of the most enjoyable aspects of the show is its playfulness.  Westen is not the typical secret agent man.  Jeffery Donovan's sarcastic spy is smart but also has a sense of humor.  He's smart as well, having many rules for his work; he doesn't like to steal cars, but if he has to he'll have it back by five if it's a weekday.  He also doesn't get into high speed car chases, saying they only draw more attention to you, making one wonder why James Bond never got into more trouble than he actually did.  The chemistry between him and Fiona plays well, showing promise to develop even further.  The standout among the cast has to be Bruce Campbell, even if he only has a small amount of screen time.  Having been given cult horror roles in the Evil Dead movies or cameos in the Spiderman series, it's nice to see him on a show where he can act and not simply replay Three Stooges gags (as great as he may be at it). 
    Burn Notice also plays around with juxtaposition.  Westen is a fish out of water; having never worried about money or getting around the world, he is now stuck in Miami with only a mattress to his name and living next door to a drug dealer.  He is surrounded by young people who are puzzled when he asks them for the nearest pay-phone.  The hard boiled narration stands out in the colorful heat while Westen describes how to make a recording device using parts from two cell phones.  The fact that all of this plays out over the Christmas season, associated with winter and snow, adds to the fish out of water scenario.
    Burn Notice may move a little fast at times, but it is highly entertaining.  It stands out from the typical special agent procedural, offering a look into the life that goes on underneath the spy.  It's comparable to the question of "What would life be like for Tom Cruise after Mission Impossible if he had to go home to his overbearing mother?"  Do yourself a favor, watch Burn Notice and find out for yourself what it is. 

The Aqua

            Chicago is home to many classic skyscrapers.  The Aon Center at 200 E. Randolph was once the tallest building in Chicago.  Utilizing the tubular structure popularized during the mid to late 20^th century, it is hard to think of the city’s skyline without it.  With that said, it is also one of the city’s most banal skyscrapers.  Around the corner though, is one of the most interesting structures of recent memory.  The Aqua building at 225 N. Columbus Dr. is quickly becoming a Chicago staple.  Constructed in 2010, it resembles modernisme structures of Spain while remaining exciting and original. 

            The Aqua broke ground in 2007 after being designed by Jeanne Gang with her team at Studio Gang Architects.  Gang, who also designed Columbia College’s Media Production Center, was named a 2011 MacArthur Fellow for designing the Aqua.  In addition to being a beauty to look at, it is also LEED certified. 

            Gang’s building is most interesting to look at during the afternoon.  When the sun shines down the wavy balconies, one can see a collage of beautiful shadows.  If you stare up at it from the ground, you won’t move until the sun settles behind the horizon.  Every hour offers a new look to the building; it’s more like a hologram than it is a residence.  Obviously the building’s name comes from its aquatic appearance, but the shape has less to do with a body of water and more with its surroundings.  The wave-like balconies were built to create better vantage points for the many landmarks in the area, making it easier to view Millenium Park as well as the Willis Tower. 

            The Aqua has more resemblance with many modernisme buildings in Barcelona than it does with any buildings this side of the Atlantic.  If Gaudi decided to add a few stories to Casa Batllo it might look a little like Gang’s work.  The Aqua is one of the most artistic skyscrapers around.  It’s almost as if Mies van der Rohe designed the building but decided to place the floors in every direction possible.  The symmetry of the Chicago School has been traded for a more playful Art Nouveau look here, making it stand out much more in a city known for its architecture. 

            After the Chicago Fire, the city became known for its use of steel framing, building some of the first modern skyscrapers.  In the 1970’s, the tube based structure of the Willis Tower and John Hancock was introduced by Fazlur Khan, again changing the direction of the city’s look.  With Gang’s latest addition to the skyline, Chicago sees a new future in its architecture.  Whereas previous styles included flat surfaces and lots of clean edges, this “new school” is free flowing.  Buildings no longer seem to be made with the Jenga formula by stacking the pieces in a box and flipping it over to construct a tower.  Further examples of this are a stones throw away from the Aqua.  The Pritzker Pavilion in Millenium Park is another recent design that is very eye-catching.  Resembling a torn up piece of tin foil, it looks nothing like any other bandshell. 

            The Aqua’s design is so successful because of its lack of fear.  It seems that many today worry about trying not to stand out or make too much of a statement.  This is true even in the construction of many homes around the city.  Many look the same, sometimes seeing the same house 4 times in a single block.  Is it a matter of cost?  Or have people become so accustomed to one style?

Like the Millenium Park, the Aqua is a symbol of the cities future.  In the midst of political trials, a budget crisis, and failing sports teams, it reminds Chicagoans of what makes the city great: its individuality.  Many cities have memorable skylines, whether it’s New York City or Los Angeles.  But Chicago stands out for its bold face.  It may be small, but its few buildings stand out more than anything else in the world.  The Aqua is one of those structures.

             

Nelson Algren amusing his new friend, Marilyn Monroe

Art Shay - "Nelson Algren amuses a new friend"

    In Nelson Algren’s Chicago: City on the Make, he writes that the city’s heart lies “in the nobodies nobody knows.”  With that said, it is no surprise that the subjects of Algren’s photographer friend Art Shay were often the nobodies that he met underneath the “L” tracks.  Shay’s “Nelson Algren amuses a new friend,” in particular, captures the essence of the nobodies both he and Algren loved as well as the city of Chicago.
    In “Nelson Algren amuses a new friend,” Shay frames his friend with a girl on his arm next to a man who clearly isn’t having as wonderful a day.  Taken in 1949, the black and white lets the people speak for themselves.  Rather than distract the viewer with all of the colors of the neon signs in the background, the focus is drawn toward Algren looking to his new friend.  From there, the focus then shifts toward the man on the ground.  Not exactly the most beautiful group of Chicagoans; but that is what makes the photograph so alive.  What Shay excels at is capturing life as it is while creating his own exciting view to what might actually have been a dull day.  Had the photograph been framed a little more to the right, the picture would lose the extra touch of humanity.
    What is really special about Art Shay’s work is that while he glamorizes Chicagoans so naturally, he is not originally from the city.  Born in the Bronx, he worked for Life as a staff reporter before moving into photojournalism.  In addition to that, there is a great story behind the photograph.  One would first take from the picture that Algren and his new friend might have spent the day walking around having casually met in some diner on the South Side.  Instead, Algren’s new friend was really a prostitute whom he had paid to keep him company for the day.  They never did anything: they only  walked around the city while Shay took pictures of them.  
    The Chicago accent is easily noticeable: any use of deez, dem, and dose will often indicate a fellow Chicagoan.  In the foreword for Shay’s exhibit “Art Shay: Chicago Accent,” David Mamet writes “Art Shay’s writing, and his photos, have the Chicago accent.”  Art Shay knew his subjects, “dose” people who lived on the streets and had more character than any corrupt politician.




Seward Johnson - "Forever Marilyn"

    Marilyn Monroe was born in Los Angeles in 1926.  After modeling for the first few years of her career, she slowly moved into features.  In 1953, she rose to fame after starring in Howard Hawks’ Gentlemen Prefer Blondes as well as gracing the very first cover of Playboy magazine.  She became a sex symbol after her scene over a subway grate in Billy Wilder’s The Seven Year Itch, cementing herself in the concrete outside of Grauman’s Chinese Theater as a pop culture icon.  The image of Monroe’s dress blowing up above the steaming ground has become so iconic that it has gone up as a 26 foot tall statue in Pioneer Court titled “Forever Marilyn.”  So then, why exactly does Chicago need a giant statue of Marilyn Monroe? 
    Seward Johnson, an 80 year old New Jersey based sculptor, installed the statue in mid July of this year.  It is the third time Johnson has taken residency in Pioneer Court, after his “American Gothic” inspired “God Bless America” statue as well as 2008’s “King Lear.”  With “Forever Marilyn,” Johnson has made a clean cut representation the late movie star, but it is just that.  There is nothing new nor original to the piece.  It is as if someone decided a life-size wax sculpture of Monroe’s dress up in the air wasn’t enough, so they built a 26 foot tall version which towers over tourists.  “Forever Marilyn” is nowhere as detailed as “God Bless America,” nor is it as interesting and creative as the metallic “King Lear.”   Instead, it is just a tourist attraction that is on the way to Navy Pier from the Water Taxi. 
    So why Marilyn Monroe?  Aside from the fact that Some Like It Hot was set in Chicago for the opening scene, she really has no connection to the city or, most importantly, the people of Chicago.  Why her, and not a statue of John Belushi or The Staple Singers?  Paul Zeller, who owns Zeller Realty Group and is in charge of installing public art in Pioneer Court, chose Johnson’s work because he “is committed to providing art to the general public," even if it's controversial.  But there is nothing controversial about “Forever Marilyn.”  Had the sculpture been installed about 60 years ago with an actual purpose, it might be different.  Today though, Johnson’s statue is irrelevant with no connection to the city of Chicago and only creates a larger crowd to navigate through.

"Black Dogs"

    “The car was a piece of shit, but thanks to Keith the stereo sounded fucking great” recalls Patrick, the main character in Jason Buhrmester’s 2009 novel Black Dogs.   The same could be said about the book: while the plot is overtly formulaic and the characters seem to go nowhere other than a Led Zeppelin concert, its clever use of music makes their journey sound a lot more fun. 
    The plot may sound intriguing, but don’t get your hopes it.  Black Dogs follows Patrick and his friends Frenchy, Keith, and Alex as they scheme to rob Led Zeppelin after their famous three night stand at Madison Square Garden.  Patrick returns home on the day that his best friend Alex is released from jail.  Alex blames him for being in jail, so Alex must convince him as well as Keith and Frenchy to help him pull of his master plan.  In the midst of all this, they sit around drinking beer and smoking pot while they spin Black Sabbath’s Paranoid and hook up with girls. 
    But the good life can’t last forever.  Patrick’s plan to rob Led Zeppelin involves first stealing a rare 1958 Les Paul to sell to Jimmy Page so that they have a way to get into their hotel.  Patrick says his plan is simple, but of course someone screws it up.  Alex’s uncle Danny foils the plan after stealing a safe that belongs to a Christian biker named Backwoods Billy.  Billy uses religion as a cover for his motorcycle gang, “finding” it prison while getting his G.E.D., to push pills and guns.  Danny then sells the safe to Boogie, a member of the funk band The New York Giants who’s crafty with safes. 
    After meeting these characters is when the story takes off.  Danny, Backwoods Billy, and Boogie are far more interesting than anyone in this stoner Rat Pack.  One would expect much more tension after meeting a friend after he gets out of prison for something you put him there for.  But when Patrick talks to Alex at his “welcome home” party, it’s only awkward for a minute before Patrick explains his plan.  When these kleptos aren’t stealing car stereos or breaking into their girlfriends houses, they argue about episodes of “Hawaii Five-O” and whether or not The Doors were on “Soul Train.”
    The pop-culture banter is amusing for a while.  You feel as though you might of hung out with these guys in high school, but after a while you realize they aren’t going anywhere or doing anything really significant.  Sure, their lives may become more interesting after stealing from a Christian motorcycle gang who clobbers them at a carnival, but in the end they are the same as they were on page one.  The protagonists recall those on “That 70’s Show” if they decided to be badasses but alwasy failed trying.
    The story is obviously influence by aspects of Jason Buhrmester’s life.  Surely he never was a thief, but he probably smoked a lot of pot and listened to Black Sabbath with his friends.  At times though, Buhrmester becomes too focused on trying to relive these years of his life.  With constant lines like “Led Zeppelin tore into “Black Dog...” and “‘Electric Funeral’ erupted from the stereo,” it begins to sound like a school report on rock and roll.  Everybody asks Patrick if he listens to anything other than Black Sabbath, always replying no.
    Though there isn’t much variety, the best part about Black Dogs is the music.  At times the use of certain songs are clever and thoughtfully placed.  When Backwoods Billy tells Patrick that rock and roll is the devil’s music, he replies “I don’t listen to rock, I like Johnny Cash.”  Billy then lets him go, but when Patrick turns on his car the most satanic Black Sabbath verses blare from the 8-track player.  Later on, Patrick uses John Osbourne as an alias: John Osbourne is Ozzy’s real name.  Patrick may not listen to a lot of different music, but he sure knows a lot about it.  Yet it always seems to get him in as well as out of trouble. 
    Jason Buhrmester’s Black Dogs sounds like Elmore Leonard decided to turn Detroit Rock City into a novel when he was 15 years old.  Much of the book sounds amateurish, using many of the same descriptions and devices over and over.  What’s best about Black Dogs are the fringes of the story.  The secondary characters liven up a story fueled by one chugging riff. 

"Bridesmaids"

    Finally, a break from the bromance: I thought I was going to go crazy if I saw another five million takes of ad-libbing from Paul Rudd.  Paul Feig’s Bridesmaids may follow the same “wacky two thirds followed by a hard turn to sap third act” of a Judd Apatow film, but it’s fresh because we get to see someone else having the fun for once. 
    Bridesmaids is a nice change of pace for the Apatow gang.  Kristen Wiig (who co-wrote the film with Annie Mumolo) plays Annie, a down on her luck baker whose best friend Lillian (Maya Rudolph) is getting married.  But Wiig’s made of honor position is jeopardized by Helen (Rose Byrne) whose high class parties and lavish life make Annie look like a lesser choice for the position.  Helen begins to take charge in the wedding plans, always trying to stay one step ahead of Annie.  What follows is a dress fitting gone wrong as well as a drug/alcohol fueled plane ride to Las Vegas where Wiig shines as a bright comedy star. 
    Along for the ride is the rest of the bridal party, including the newlywed (Ellie Kemper), the tired wife (Wendi McLendon-Covey), and the groom’s party animal sister (Melissa McCarthy, who gets the most laughs in the film).  Director Paul Feig, well known as the creator of "Freaks & Geeks," knows how to handle comedy while retaining strong emotional reactions as well.  He can also direct a large cast of misfits as seen in his work on some of the best episodes of "The Office" and "Arrested Development." 
    Here though, Feig loses focus on half the bridal party during the second act until McCarthy’s Megan comes in to get Annie’s life back together after a meltdown.  Half of the time we see Kemper and McLendon-Covey’s characters they talk about their relationships with their husband which don’t see much of.  Instead, Bridesmaids focuses on Wiig’s disheveled life and her inability to grow up.  She sleeps with a jerk (Jon Hamm) and can’t open herself up to a sweet cop (Chris O’Dowd).  Unfortunately, the film follows the Apatow rule that a comedy can be fun only until the third act, where it quickly has to get a message across and feels out of place with the rest of the film.  
    The best thing about Bridesmaids though is that Kristen Wiig finally gets her moment in the sun.  Having been one of the funniest cast members for the last few years on SNL, she has also had the best parts in Adventureland and Whip It.  The scene on the airplane shows Wiig at the top of her game with some of the best physical comedy in years.  It’s nice to finally see her in the spotlight.  Also, it is much more enjoyable to watch something where the creators actually had fun working together.  So many romantic comedies these days feel like an easy paycheck: Bridesmaids was actually thought out and handled with care.