Entertainment Weekly does not speak for me.*

Entertainment Weekly, in its infinite wisdom, appointed itself rulers of the pop culture retrospective a few weeks ago with their special edition EW 1000 issue. By subtitling this volume The New Classics, the writing staff has innately critic-proofed their selections. Now, if someone like me or someone way more respectable in this arena, like, say, someone who has a job commenting on these sorts of things, wants to argue that a majority of these aren't the best of the last 25 years, then the response would surely be, "Well, our list is the classics. Not necessarily the best." Which is nice because then, if someone tries to argue the opposite, then they can still take credit. Very convenient.

Since this particular blogger has me whipped in the literature realm, I'll try my hand at weighing in on the New Movie Classics list. (And I'll also shamelessly borrow his system of separating out those which I have seen or have only seen a part of. I'm hopelessly lost to the blind authority that these lists have, so it's useless to denote which ones I will want to see in the future. Because I will now want to see every film on this list.)

Seen it - Seen part(s) of it

100. South Park: Bigger Longer & Uncut (1999)

I appreciate some of the show's humor, but I don't think I could withstand a whole movie's worth of Parker and Stone. The songs might be classic, so I've heard.

99. The Blair Witch Project (1999)

It's hard to think that a movie from just before the turn of the century would be "before my time," but I guess, due to a lack of R-rated movies in my formative years, that it applies here.

98. The Talented Mr. Ripley (1999)

For some reason, I always get this movie initially confused with Meet Joe Black when it comes up in conversation. Maybe I just need to see both movies.

97. Glory (1989)

One that I would definitely have on my list. A post-Bueller Matthew Broderick, Denzel Washington, Morgan Freeman, and the guy who played Ranch Wilder in Angels in the Outfield all in a Civil War movie? Sign me up. James Horner's score is pretty amazing, also.

96. Far From Heaven (2002)

Not terribly familiar, but the involvement of two "Dennis"es (Mssrs. Quaid and Haysbert) would be enough to convince me to watch.

95. In the Mood for Love (2001)

94. Full Metal Jacket (1987)

93. Ed Wood (1994)

92. Menace II Society (1993)

91. Back to the Future (1985)

90. Napoleon Dynamite (2004)

89. Breaking the Waves (1996)

88. Austin Powers: International Man of Mystery (1997)

87. Swingers (1996)

86. Y Tu Mamá También (2002)

85. The 40 Year-Old Virgin (2005)

Not only my pick for the best of the Apatow bunch, but for the best comedy of the young 21st century. Andy Stitzer is such an empathetic and likable character that it's impossible not to want to see him achieve some sort of relationship success. Plus, any movie with solid supporting turns from Rudd, Rogen, and Romany is hard to mess up.

84. Sideways (2004)

83. Evil Dead 2: Dead by Dawn (1987)

82. Lost in Translation (2003)

81. Moonstruck (1987)

80. Michael Clayton (2007)

Really? If this "Classics" list is made again next year, I don't think this even makes the short list. It's an interesting plot, and I enjoyed the Clooney-Wilkinson banter, but Tilda Swinton already has her Oscar. That's as much undeserved praise as this movie needs. But don't get me wrong, I still liked it.

79. Waiting for Guffman (1996)

78. Terminator 2: Judgment Day (1991)

77. Sid and Nancy (1986)

76. The Departed (2006)

Many people will debate if this is the best "Gimme Shelter"ed, Scorcese-helmed Oscar nom. Is the violence a tad over-the-top? Possibly. But do you get chills watching Matt and Leo play Cat and Mouse? I did.

75. Out of Africa (1985)

74. Drugstore Cowboy (1989)

73. Office Space (1999)

"What, exactly, would you say...ya do here?"

72. Thelma & Louise (1991)

71. Unforgiven (1992)

70. Broadcast News (1987)

69. All About My Mother (1999)

68. Witness (1985)

67. Donnie Brasco (1997)

66. Natural Born Killers (1994)

65. Dirty Dancing (1987)

64. No Country For Old Men (2007)

Read the book. Friendo.

63. Big (1988)

62. sex, lies, and videotape (1989)

61. Beverly Hills Cop (1984)

60. Scream (1996)

I happen to like other of his movies, like Red Eye better, but this was a nice little nod to Wes Craven and the way he's changed the presentation and popularity of horror movies.

59. L.A. Confidential (1997)

58. Ghostbusters (1984)

57. There’s Something About Mary (1998)

56. The Lives of Others (2006)

55. Risky Business (1983)

54. Fatal Attraction (1987)

53. The Truman Show (1998)

52. The Naked Gun: From the Files of Police Squad (1988)

51. There Will Be Blood (2007)

50. The Piano (1993)

49. Crouching Tiger, Hidden Dragon (2000)

48. Scarface (1983)

47. Men in Black (1997)

Whenever I think of this movie, all I can think of is the screwed-up face of Vincent D'Onofrio, demanding "More sugar!" Is that classic? In a silly, bug-like way, maybe.

46. Children of Men (2006)

A fantastic film that would probably be in my Top Ten. How Emmanuel Lubezki did not win Best Cinematography Oscar for this is beyond me, no matter how amazing Pan's Labyrinth was. This movie gripped me so much that, on my way home from the theater, I drove in complete silence. For a movie so dark, ominous and foreboding, the three epic long-take sequences are extremely re-watchable, both for craft and content.

45. Rain Man (1988)

44. The Player (1992)

43. Gladiator (2000)

Are you not entertained (by this list)?

42. Clueless (1995)

41. Dazed and Confused (1993)

40. Speed (1994)

39. The Sixth Sense (1999)

As a Shyamalan apologist, I often lose credibility when I say that this is my third-favorite movie of his. I would put both Unbreakable and Signs ahead of this one, simply because the twist ending, for me, doesn't hold up on repeated viewings. It's always interesting to see what he does stylistically with the camera, but the WOW! factor doesn't stay after watching again and again.

38. Eternal Sunshine of the Spotless Mind (2004)

The most accessible of Charlie Kaufman's scripts, this is just a stripped-down love story in a lavish cover. The Tom Wilkinson subplot in this movie never gets too sentimental and never seems thrown in. To have a heartwrenching side to a movie like this, without having it seem overly sentimental, is a tribute to how well this movie works on so many levels. A worthy inclusion and a true classic.

37. Pretty Woman (1990)

36. Spider-Man 2 (2004)

Pre-Dark Knight, this was my pick for the best of the comic book adaptation bunch. Alfred Molina sure knows how to handle the part of the villain, and the struggle to embrace both identity and destiny is best shown here (except for those pesky movies starring some guy named Bale). Plus, the Special Features on this DVD include possibly the best Gag Reel ever.

35. The Incredibles (2004)

As I mentioned in my Wall-E review, most of the Pixar movies are deserving of this spot or higher. Brad Bird is a gifted animation director and Michael Giacchino's score adds a true, cinematic touch.

34. Fargo (1996)

33. The Breakfast Club (1985)

32. Fight Club (1999)

31. Brokeback Mountain (2005)

30. When Harry Met Sally... (1989)

29. The Bourne Supremacy (2004)

One of the rare cases in which the second movie of a trilogy is not the strongest (looking at you, Temple of Doom). How this makes the list and not The Bourne Ultimatum is beyond me. Excuse me while I take a dance break to "Extreme Ways," which is now stuck in my head.

...

...

28. Wings of Desire (1988)

IMDb informs me that this is the German film that was remade into City of Angels with Nicholas Cage and Meg Ryan. What I want to know is: Did the Goo Goo Dolls record a German version of "Iris" for Wings of Desire's Criterion collection DVD release? If they did, I'm hitting up Amazon. com Right Now.

27. Aliens (1986)

Everything's better with some James Cameron. Ridley Scott should return the favor and make the sequel to Titanic and get nominated for 15 Oscars. You know, to one-up him.

26. Hoop Dreams (1994)

Good to see a documentary make the list. I wonder if this would still be on the list if one of the boys turned out to be a legitimate superstar.

25. Shrek (2001)

24. A Room With a View (1986)

23. Memento (2001)

22. Rushmore (1998)

21. Schindler's List (1993)

20. The Lion King (1994)

19. Casino Royale (2006)

18. Do the Right Thing (1989)

17. Jerry Maguire (1996)

16. Boogie Nights (1997)

15. Edward Scissorhands (1990)

14. Crumb (1995)

13. GoodFellas (1990)

12. The Matrix (1999)

11. This Is Spinal Tap (1984)

10. Moulin Rouge (2001)

9. Die Hard (1988)

8. The Silence of the Lambs (1991)

7. Hannah and Her Sisters (1986)

6. Saving Private Ryan (1998)

5. Toy Story (1995)

4. Blue Velvet (1986)

3. Titanic (1997)

2. The Lord of the Rings trilogy (2001-03)

For me, The Return of the King is the best movie ever made, so, if I had my way, these would be #1. But I'm not affiliated with EW, so they're not. (By the way, nice job on taking the easy route and lumping all three together. I at least had the guts to separate the Star Wars prequels on my list. [beat] Kidding.)

1. Pulp Fiction (1994)

WHERE IS?!?!?!?:

Braveheart?

*This post is a work in progress.

I'm pretty terrible at predictions.

I realized that the "Sports" aspect of MQ has been....hmmmm....lacking. That being said, I though it would be fun to take a look back at my beginning-of-the-year baseball predictions and evaluate my half-hearted attempts at prognostication. The actual halfway point of the season has come and gone, but the All-Star Game is generally regarded as the unofficial cutoff between the first and second parts of the season.

In an e-mail dated April 1st, I proudly proclaimed the following:

"AL West: Rangers (I have to believe that the Showalter curse still lives...Plus this division is positively terrible.)
AL Central: Tigers
AL East: Red Sox
Wild Card: Indians

AL MVP: Grady Sizemore
AL Cy Young: Justin Verlander
AL ROY: Daric Barton

NL West: Padres (As if there was any doubt. They could score 100 runs this season and still win this division.)
NL Central: Cubs
NL East: Mets
Wild Card: D-Backs

NL MVP: David Wright
NL Cy Young: Dan Haren
NL ROY: Kosuke Fukudome

Divisional:
AL: Red Sox over Indians, Tigers over Rangers
NL: Mets over D-Backs, Padres over Cubs

ALCS: Tigers over Red Sox
NLCS: Mets over Padres

World Series: Tigers over Mets in 6

Discuss. Respond."

For those who aren't too keen on the deportes, I'll explain: This is pretty bad.

I'll admit it. I bought into the Detroit Tigers hype, thinking that their pitching would be more reliable. The Texas Rangers and Boston Red Sox are both over .500, with the Sox actually pulling into first place before the All-Star Break. Sadly, though, the Cleveland Indians are in last place and the closest that outfielder Grady Sizemore might get to a trophy this year is if he wins the Home Run Derby. The Tigers' Justin Verlander hasn't sniffed his numbers from last year and Daric Barton isn't even the best rookie on his team.

On the National League side, the Cubs and David Wright's Mets are strong and resurgent. Maybe I should have stopped my picks there. It's apparent that the Diamondbacks are incapable of taking the Wild Card slot when they don't even have more wins than losses and, sadly, my Padres are struggling to avoid the cellar. Fukudome (who, I'll admit, I probably picked because his name sounded cool) and Haren wouldn't even finish above teammates Geovany Soto and Brandon Webb in their respective races. Those were duds, too.

So, the Red Sox and Mets might have a chance to make it to their Championship Series and, maybe after that, the Fall Classic. But even if they do, that's a poor showing for me this season, picks-wise.

Again.

The Pride of Emeryville gives another gift.

A few weeks ago, in honor of WALL-E, the most recent effort from the Pixar geniuses (a well-deserved descriptor, no?), I thought it would be fitting to take a look back at the animation studio’s work, countdown style. It seems a tad counterproductive to try and rank these movies because I really can’t call any of them bad, just not as good as the others. Here’s what I came up with:


8. Cars – Again, it’s not that I didn’t like this movie, but it felt like the story was trying a bit too hard to funny/cute/nostalgic. Bright spot: Tony Shalhoub as Luigi.
7. Ratatouille - The animation quality might have been best in Ratatouille, but the story didn’t catch on for me as well as it did for the Academy voters.
6. A Bug’s Life – Pay it Forward aside, it’s hard to imagine Kevin Spacey as anything other than a villain. This is a strong addition to the résumé. This certainly has one of the strongest lists of distinct, memorable characters.
5. Monster’s, Inc. – Creating new worlds seems ridiculously easy for these guys. How could this be only #5? I’m doubting myself.
4. Toy Story 2 – Simple equation à Toy Story 2 – Stinky Pete = Best Pixar Movie.
3. The Incredibles – Take out the visuals, the story, and the voicework, and Michael Giacchino’s score would still justify a #3 slot. Fortunately, those other elements are in as well. And they’re darn good. Almost Brad Bird’s best film, but not quite as good as The Iron Giant.
2. Toy Story – The one that started it all has aged gracefully over the last 13 years. The characters, the story, and the imaging still seem fresh.
1. Finding Nemo - Clownfish and Co. took the top spot for me because Finding Nemo is a movie at the convergence of everything. All the Pixar features manage to blend the interests and attention of kids and adults alike with maddening ease, and the sea just seemed like the perfect way to intensify that harmony.
Earlier today, I finally made the voyage to Century to take in WALL-E, which now has a higher IMDb ranking than Citizen Kane. I was foolish to think that this would be all I would need in order to put the latest installment in perspective. One thing I do know now for sure: WALL-E’s the new #1 on the list above. And it’s not even close.

Review - WALL-E:
Short version – The leader in the clubhouse for the best movie of 2008.
Long(er) version – This movie has more heart than Valentine’s Day on the Eiffel Tower. The main characters are identifiable and absurdly lovable, even if they lack working organs.
The one question that, when answered properly, ultimately defines a great movie is: Do I care? But with WALL-E, the answer is a resounding and unequivocal yes. If Lightning McQueen doesn’t make it back to race in the…uh…race, I guess we could live with that. If Mike and Sulley don’t find Boo’s door at the end, that would be manageable. Shoot, he’s a cute little rat, but if Remy fell into his own stew, my soul wouldn’t exactly splinter.
For 97 solid minutes during this cinematic adventure, the pressing issue is not “Is my popcorn buttery enough?” or “Is the person sitting three rows in front of me cute?” but “Is this spunky hunk of metal going to save the day and get the girl robot?” Any moment throughout the hour-forty when this uncertainty can’t be easily answered is a tug at the “large aortic pumps."
On the surface, the possibility of successfully articulating the plot with the given characters seems as ridiculous as, well, falling in love with a rodent who can cook. The luxury of Ratatouille was that the main players could make charming little faces a la Puss in Boots in Shrek 2. With WALL-E, the feat gets repeated without personified expressions to heighten the emotion. The robots in this movie say everything that is needed to be said in two main ways: eyes and voice. The animators get credit for the first and the unequalled Ben Burtt for the second. Both of these are blended with simultaneous simplicity and depth.
Despite my fears that this studio (which has stayed perfectly neutral in terms of taking political stances) would use WALL-E as a means of sending an “important message,” the commentary present never gets burdensome. Sure, the humans are comically crafted in a way to reflect America’s growing poundage. WALL-E’s Earth is barren, but thank God the phrases “global warming” and “climate change” are never referred to explicitly. And I guess (if you were willing to stretch) Shelby Forthright, the live-action “global CEO” from the past, played by notable TV and movie “That Guy” Fred Willard, could be a veiled allusion to George W. Bush, complete with matching “stay the course” dialogue. But this is not brainwashing propaganda (I’m glaring at you, Happy Feet).
This is captivating storytelling at its finest, best even for the standards of the men and women of Pixar. It is deserving of every accolade that will surely be thrown its way when end-of-the-year awards season arrives. Because ultimately, even for a robot, WALL-E represents the most human of desires: to be loved.

Can I adopt him?

Reports of this blog's death have been greatly exaggerated.

It pains me to have been away from MQ so long. (Blogging does bring out your pretentious side: I just referred to a largely insignificant side-project of mine using initials that I know full well no one uses except me. How refreshing.)

That being said, my time away has not been a completely terrible waste. I’ve been reading. (“A dangerous pastime..” “I know.”) One of these appropriately-read volumes is Chuck Klosterman’s Chuck Klosterman IV. This book, and the man behind the pen (or keyboard, depending on available technology), deserve a separate post entirely, so I will/may get to him on a later date.

My purpose in bringing them up now is that one of the essays in IV concerns The Ten Most Accurately Rated Artists in Rock History! Considering my knowledge of rock music is extensive enough only to compile a list that would amount to self-flattery, I tried to think of an alternative list of the bands which are the most appropriately known. Given the 1,981 artists in my music library from which to choose, and given my recent attempts at generating a legitimate, entertaining countdown post, I figured I should settle on one band.

There was only one that initially came to mind. No others really stuck out.

The Flaming Lips can be easily viewed as successful, through any realistic aspirational prism. I mean, people are asking for them by name on their convenient, in-car, voice-activated sound systems. What more is there to be reached?

I guess the truth is that I’d like them to stay that way. It’s hard to wish a lack of success on anyone or anything, but if the Flaming Lips never attracted another fan, I’d be happy (This, of course, does not include any people who I can personally sway, with this post or otherwise). Those who are fans are already the ones that need to be. There’s no need in polluting the synthesized air. This isn’t an indictment of people who haven’t heard of them or who don’t like them. I just don’t want to see them become so commonplace that they morph into a cliché or a caricature (which just might happen if “The W.A.N.D.” gets used in another commercial).

Admittedly, The Flaming Lips are not for everyone. Their gravitation towards electronic experimentation and absurdly-long song titles would seem a tad polarizing. (Innately, this is an effective form of fan population control, so maybe I’m freaking out for no reason.) If anyone cares to climb through the window of allowable fandom before it inevitably closes, here’s one main reason to make the jump:

You’ve probably heard them before and didn’t even know it. As I alluded to before, their songs are beginning to infiltrate the collective subconscious of American advertisers. This can be seen here and here. The latter of these commercials feature a song, arguably their most popular, called “Do You Realize??” This particular piece of songwriting genius should be universally acclaimed for its ability to effortlessly combine a seemingly-cheerful and authentically-sweet opening phrase like “Do you realize/That you have the most beautiful face?” with a thoughtful meditation on mortality three lines later like “Do you realize/That everyone you know someday will die?” Believe me. It sounds nowhere near as morbid or awkward as I just made it.

Also, TFL have a penchant for soundtracks. Aside from “Signal Fire” and the unintentional comedy of the nightclub scene, The Flaming Lips’ two contributions to the soundtrack were the best things to result from Spider-Man 3. Their version of the original TV cartoon theme song is unmistakably theirs, even if the first 45 seconds sound oddly like Moby’s “Extreme Ways.” Original song “The Supreme Being Teaches Spider-Man How to Be In Love” tells of (what else?) Muhammad Ali and the web-slinging superhero locked in, presumably, the Fight of All Time. Mary Jane is probably somehow involved, but after a dozen listens, I’m still not sure. But their ability to add depth to an otherwise-disappointing movie-going experience is a nod to their musical ability. And it isn’t confined to the brainchildren of Sam Raimi, either. They’ve written songs for Mr. Magorium’s Wonder Emporium (“Love the World You Find”), Good Luck Chuck (“I Was Zapped by the Super Lucky Rainbow”) and even The SpongeBob Squarepants Movie (“SpongeBob and Patrick Confront the Psychic Wall of Energy”).

I am, by no means, the biggest fan of The Flaming Lips. There are many people out there who were fans of Transmissions from the Satellite Heart long before I considered listening to music to be a productive and relatable use of my time (which, incidentally was about freshman year of high school. I was a late bloomer). It’s just that my biggest fear is that the bands I love will no longer be just my little secret when everyone and their 12-year-old sisters profess to adore them as well. This seems to have happened with Narrow Stairs and will most likely happen with every subsequent Coldplay album between now and the end of time.

True story: Having the main subject of this post already determined before I hit my laptop, I knew I needed to include some links for reference. Thinking that the aforementioned Klosterman article was featured in Esquire, not SPIN, I searched for the piece on the former magazine’s website using the title of the essay in IV, "Certain Rock Bands You Probably Like." The first search result? You guessed it. Flaminglips.

Instant Gratification: "Vida la Vida or Death and All His Friends"

Hype is a dangerous thing. On rare occasions, it’s a sign of genius, of true creativity of lightning captured in a neat, artistic bottle (which sometimes just happens to be on sale at Best Buy). Special websites, corporate tie-ins, and Rolling Stone cover stories have all preceded the release of Coldplay’s new album Viva la Vida or Death and All His Friends. I’ve followed the timeline for darn near close to a year now, hoping for any hint as to what form these 10 tracks might manifest themselves. Skimming various reviews, of all sorts, I have been promised a drastic reinvention, something wholly unexpected, yet still familiar.

Given the industry-wide adulation that has come in the weeks leading up to the U.S. release of one of the year’s (decade’s, anyone?) most anticipated albums, I’ll admit that my expectations for this album are high. The tracks are currently streaming on a variety of sites across the Internet, so this review isn’t much of a scoop. But, it’s a good feeling to be able to accomplish three firsts with this post: 1) my first post that self-links to a previously-discussed topic, 2) My first recurring segment, and 3) my first preview. You, valued reader, are a witness to history. As with Narrow Stairs, this is my personal, yet public way of documenting my first listen to an album that, for me, has the potential to achieve Pantheon status.

So, with fingers crossed, let’s see what Chris Martin and the gang have in store for Round 4:

1. Life in Technicolor
I have a feeling that “ethereal” may be a commonly-used word when discussing this album. Some strings with personality. I was told to expect experimentation, and we get a heaping helping of it right off the bat. Opening with an instrumental track is a nice touch. Solid so far. I hope this is a sign of things to come.

2. Cemeteries of London
“Save the nighttime for your weeping.” Hmmmm…That stands out. I never thought I’d ever play a Coldplay song at my front door on Halloween, but this may in this year’s running. If Casper liked rock music, this would be up his alley. My favorite vocal trick of Coldplay is when it sounds like a chorus is singing the chorus. Magnifying Chris Martin’s voice is highly appropriate. I like the mini-piano solo at the end. Please sir, I want some more.

3. Lost!
How awesome would it be if Martin name-dropped Benjamin Linus at some point here? I can picture the legion of fans who will be clapping along to this song at live shows. They don’t allow the opening beat to completely dominate the rest of the song. A wise choice. More background CM and organ. This is flowing quite nicely.

4. 42
How cryptic can the first 20 seconds of this song be? The title of this album really isn’t a gimmick. They really are exploring the ideals of life and death. No love songs yet. 1:37 à We have reached great song territory. This is an “Amsterdam”-like kick-in. Bravo. More clapping, this time in sets of three. I’ll play along. Nice ending chord.

5. Lovers in Japan / Reign of Love
Alright! Who wants an almost-7-minute Coldplay track? [raising hand]
This first part feels like it would have been at home on X&Y. Which is not a bad thing. There’s the piano! Hello, old friend! And there’s the unconventional, roundabout feel-good message, too. Overall, this doesn’t really mesh with the opening quartet.

6. Yes
It’s amazing how quickly apprehensiveness has switched to approval over the last 20 minutes or so. The addition of the Latin-influenced strings could easily have fallen flat on its face. Not surprisingly, however, it feels pretty comfortable. Anyone else feeling a little Sting at about the 3-minute mark? CM’s not going to break into French is he? No, but what is this at minute 4??!? Must we use the Ben Gibbard effect here? CM must have been singing from across the church here. Don’t get me wrong. Overall, it sounds great. Is this another solid song? See the title of the sixth song.

7. Viva la Vida
Any self-respecting TV watcher has probably seen the commercial with this song. It’s the top-selling song on iTunes right now and will probably be on most summer playlists. Nice to see that CM is flexing his lyrical muscle. The allusions to Rome and long-past monarchies only makes the song more encompassing. This is a chorus that will stay with you. The ooohs are a little funky. A tad misplaced. But I love the segue into…

8. Violet Hill
“Was a long and dark December…” I am currently singing along because I have listened to this seemingly non-stop since I got the free download. I’m sure there’s a political message in here somewhere, but I honestly don’t care. One of the most iconic bands of this generation is reinventing itself as I type this. Like the teeth under the magnifying glass in the video, this change is unmistakable, unavoidable, and it’s working. Two songs to go.

9. Strawberry Swing
No lie: “Warning Sign” is playing in the airport terminal as I’m putting this review together. This seems like another X&Y stayover until the inevitable mid-song shift. And more clapping. Eh, not much more to say about this one.

10. Death and All His Friends
“Everything’s Not Lost.” “Amsterdam.” “Til Kingdom Come.” If history is any indicator, this should be an epic, sprawling capper. A tune to wrap up the Coldplay package. So far, that seems like a fair assessment. The “Fix You” chorus is back. And we’re back to the beginning. That’s something they haven’t done yet: Bring everything full circle. Completely fitting and almost necessary with a work like this.

As I listen to “Lost?”, the acoustic version of its oppositely-punctuated predecessor, now seems like a good time for a wrap-up.

A lot of the weight of either success or failure of this band falls on Chris Martin’s shoulders. That’s the territory that comes with name recognition, a celebrity marriage, and that aforementioned magazine cover (apparently he’s also a “Rock God.”). But here, he can certainly take a justified portion of the praise for this album. (I don’t know I’ve said this already, but it’s a reinvention, and it’s a GOOD one.) The lyrics are more thoughtful, the image is farther in its reach, and the product is a self-contained composition which isn’t ashamedly epic in scope, but gets close enough to appreciate its restraint. Is this album worthy of its predecessors? Does it, when time has given a chance for perspective, have the chance to surpass them? See the title of its sixth song.

Parachutes, AROBTTH, and X&Y work as an effective trilogy, each with a unique feel, but distinctly part of a greater compilation. Viva la Vida marks a distancing from that set, admittedly with some stowaways. But with its opening four songs and the beautiful “Viva la Vida”/”Violet Hill” couplet, the group has put forth the groundwork for another defining trio, if they so choose.

All I can say is: Bring it on.

Monthiversary

Magnus Quattuor is now officially one month old! I couldn't let the date go by without some sort of recognition.

Thanks to everyone who has taken a gander over the past few weeks. Your positive feedback has been invaluable. It's nice to know that this is worth something and not just a mindless, fruitless venture.

That being said, I fear I may need to go on a mini-hiatus, with Finals week coming up. But don't worry! I'm planning a massive series of end-of-the-school-year countdowns that I can't wait to post.

Til then, have a relaxing, unproductive beginning of summer. I'll be busy checking my custom-made countdown, currently ticking down all the way until The Happening premieres.

TrailerWatch: Burn After Reading

For all the people who aren’t too keen on math, here’s a formula you might enjoy:

NCFOM–(AC+JB+$2M)+(JM+BP+FBI)+FM+DO+JJJ = BAR

Confused? Let me explain.

Take last year’s No Country for Old Men.

Subtract the simultaneously psychotic and oddly charismatic Anton Chigurh (played by now-Oscar winner Javier Bardem). Add seemingly-inept John Malkovich.

Subtract the vacant-expressioned Josh Brolin and add a whiny, foul-mouthed Brad Pitt.

Subtract the $2 million satchel of drug money and add secret FBI files.

Add Frances McDormand (also referred to as Marge Grunderson [from Fargo] and Mrs. Joel Coen).

Add Danny Ocean.

Add a subdued, yet equally quirky J. Jonah Jameson.

All this, of course, results in the new Coen Brothers film, Burn After Reading.

At least that’s what it seems like from the plot synopsis and cast list.

The trailer itself tells a slightly different story (Careful, it's a Redband one). Last year's Best Picture winner was almost completely devoid of humor, except the warped twisted kind that seemed to follow Chigurh around. This offering seems to focus on the black, as well, but in a decidedly more lighthearted way. I can't decide if Pitt will be endearing or annoying, but that phone call scene with Malkovich should be pretty entertaining. And above all, it should be very Coenesque.

I don't know if anything could be more unconventionally terrifying than Chigurh's air-powered cattle gun, but an axe-wielding Malkovich might come close.

I love the ensemble cast. J. K. Simmons always turns in a quality performance. Clooney and Swinton (in staying with the recent Oscar winners theme) are solid actors, but their characters don't offer many clues from the trailer, and I have a feeling that their storyline may bog down the overall plot.

But, who knows for sure? We'll have to wait until September 12th.

The first song from the trailer, by the way, is pretty solid. It's "Grounds for Divorce" by Elbow. The second one is more classic: "I Got a Line on You" by '60s rock band Spirit.

8 years too late, perhaps?

Back in the bygone year of 2000, my sixth grade class watched a three part special, produced by A&E and Biography, detailing the channel's list of the 100 Most Influential People of the Millennium. I have been (and always will be) a sucker for countdowns, but this one in particular has stuck with me. For almost a decade, I've thought about trying to convince someone from my elementary school's library to let me borrow the set of three VHS tapes so that I could relive what has become an unlikely, yet vivid school days memory.

Recently, in doing research for a paper, I stumbled across my personal Holy Grail of archive video footage on YouTube, that prayer-answerer of a website. Thinking initially that only a portion of the special got posted, I was shocked and elated to see that all three hours were available for my procrastinating pleasure.

I bring this up because there are some interesting inclusions on the list from the realms of the Big 4 that are worth noting. Elvis Presley, The Beatles, Steven Spielberg, Charlie Chaplin, and early 20th century filmmaker D. W. Griffith made the cut, not to mention countless historical figures who were prominent in the world of politics.

The list isn't perfect. I'm not sure that many historians will see Princess Diana as an extremely influential person in the centuries to come, there's no way Gorbachev ranks higher than Reagan, and the inclusion of Margaret Sanger and Rachel Carson seemed forced -- and a tad undeserving. But it's a concise primer on some figures that truly did shape the world, even if their effects only came relatively recently.

Who's #1, you may ask? Well, it's this man:


Give up? Here's a hint.

And if this isn't enough to whet your end-of-the-millennium-countdown appetite, an additional list from LIFE magazine is here.

You have 1000 years to catch up on. Starting...now.

Ladies and Gentlemen, Start Your iPods!

While the buzz around the sporting world today will be the 92nd running of the Indianapolis 500, some of the Indy faithful will, and have been gearing up for a different kind of show. This month has been an eventful one for the city of Indianapolis.

Check out this line-up!

Today's special Race Day concert is Jack's Mannequin (that's lead singer Andrew McMahon to your left). This after Stone Temple Pilots' special performance at Friday's special Carb Day Concert, played last year by Kid Rock.

Perhaps the most appropriate concert of the month was Jon McLaughlin's show last Sunday. The singer of "Beautiful Disaster" and "So Close," the latter from last year's Enchanted. His debut album is simply titled "Indiana." Seems fitting.

All told, I'll have to figure out a year where there's a good show on Race Day. If I'm lucky and the concert's right, I can cross off two items on my life's To-Do List.

Arrivederci, Pizza Man

Ah. It appears Mike Piazza has taken his last trips around the MLB bases. As a player, anyway.

The next few days will undoubtedly be a time where panelists will debate his place in Cooperstown and/or how much we should consider his defensive efforts when placing him in the pantheon of the all-time greats behind the dish. Teammates will heap praise for being a good teammate and/or student of the game.

To be sure, though, there will be some critics as well, deserved or not.

But I think, aside from the Clemens bat incident, aside from his stints with a few different teams in the twilight of his career, the moment detailed in this farewell video will come to be his most endearing. What he did for the city of New York in such a time of trauma and grieving will not be soon forgotten.

A big round of applause to Mike Piazza. We may never see another player quite like him.

For your Southern California musical enjoyment...

Over the past few weeks, I've been to plenty of school-related events: fundraisers, charity events, performances, etc. These functions usually have some music-related element to them.

Seriously played at the APEX Youth Olympics at Santa Monica Community College on Saturday. It was a difficult venue (not the best acoustics), but they managed to feed off whatever energy was floating around the open-air stadium. Turns out they've been making the rounds lately, playing on a ton of California college campuses. You can tell these guys have fun doing what they do.


Lady Danville is a UCLA staple. Made up of Bruin alumni, they can be found at any number of school to-dos, usually accompanied by a throng of wide-eyed, adoring female followers. If you hang out on BruinWalk long enough on any given day, chances are you'll see someone walk by sporting a Lady Danville shirt. My first listen came at Relay for Life this year and I look forward to more in the future.




Cavil at Rest played at this year's Spring Sing, one of the biggest annual UCLA events. They played "Who Knows Who Cares," which has to be one of the most satisfyingly-epic songs I've ever heard. Listen for yourself, and imagine how much more intense it was with an audience of thousands. (I was singing along.) Amazingly, they didn't win any prizes, group or overall.

Well, at least they got my vote.


Undoubtedly, these bands all sway toward the indie realm. But, with summer on the horizon, they have enough songs to put together a quality chill-out mix CD, the perfect compliment to any blue-sky, outdoor activity.

These are worth 1,000,000,000,000 words. (That's a trillion.)

I'm taking the liberty to pencil in The Dark Knight as having one of, if not the best series of teaser posters for a movie. Ever.

Case in point:

Needless to say, you'll be seeing a multitude of these babies slapped up on the walls of dorm rooms in colleges across the country (nay, the world) when everyone moves back for the fall of '08. Prepare yourselves.

Personally, I'm not sure how I'd feel waking up, rolling over, and being greeted by this at 5:30 in the morning:



Serious indeed. Still, July 18th can't come fast enough.

By the way, does anyone else find this insanely terrifying?:


I'm surprised this didn't find its way into Across the Universe. Oh, wait...

Child Star with Humility - Ahh...Refreshing.

As a boy growing up with two younger sisters, I saw my share of Even Stevens on the Disney Channel. Louis was always my favorite. I mean, after all, he held his own with most of the adults on that show, much less his pre-teen counterparts.

I think that's why I haven't been surprised to see Shia LaBeouf enjoy so much success as an actor. What has been a tad bit shocking over the past few years is to see his life become more public. There's some part of me that just assumes he should still get some semblance of privacy because of his age - but he hasn't been a minor for four years.

The transition's been a little rocky on the celebrity end for him, and his law with the record hasn't been exactly spotless. But if this account is true (great story -- he's still got the comedy touch, by the way), he might not be have as much imminent risk of falling into the stereotypical child-star traps as one might expect.

Overall, I hope that he continues to find success with his blockbusters and awards-season hopefuls alike.

Instant Gratification: "Narrow Stairs"

Years from now, I'll probably have at least one time where I think, "Hmmm. I wonder what is was like when I listened to 'Narrow Stairs' for the first time." I would love to have record of the first time I listened to Futures or Absolution for the first time -- I'm sure I'll talk about those on a later post. In order to avoid this regret in the future, and to offer my humble thoughts on what has been hyped as an amazing achievement. As I'm typing these words, my copy of Death Cab for Cutie's sixth LP is in my computer, imported into iTunes, and ready to make its maiden voyage into my music consciousness. To complete the preparation, I am wearing my DCFC shirt.

The album has been streaming all weekend on MTV and VH1's online sites, but I wanted to wait until its actual release date. Its moments like these that I live for, a chance to discover something truly new and great, the way it was intended. Bring it on.

Without further ado: live, instantaneous feedback on "Narrow Stairs."

1. Bixby Canyon Bridge

Gibbard's sure going for the high notes right off the bat. Certainly aren't being shy with the bass either. Long way away from the echoey, wispy vocals from the You Can Play These Songs With Chords days. They sure do like repetition on the opening track (see "Marching Bands of Manhattan"). 

2. I Will Possess Your Heart

I've already heard this one (yes, the full version) a few times, so I know what to expect here. Jason McGerr is officially one of my favorite drummers (here's another reason why). I'm up on my feet; this song just makes me want to dance! The almost-five-minute opening reminds me, in principle of an instrumental round, where the entrances are staggered, and everyone plays at different intervals. It passes the time quickly.

After weeks of only being able to sing "And I long for this mirrored perspective/When we'll be lovers, lovers at last" because those were the only lyrics beside the chorus that I knew, it's nice to know that I am officially listening to the album version. Only DCFC could pull off lyrics like these without having them sound insanely stalker-ish. Overall, a well-crafted 8 minutes and 39 seconds.

3. No Sunlight

Whoa, where did the Fountains of Wayne "I Want an Alien for Christmas" intro come from? Just kidding. A little bit more of the throwback earlier sound that really wasn't on Plans. 

4. Cath...

Here we go. This is a little more like it. I could spot this chorus as Death Cab from a mile away. Solid stuff. Awesome ending chord. 

5. Talking Bird

Personally, I like Gibbard here. Good experimentation with the vocals. The scratchy guitar works too. 

6. You Can Do Better Than Me

You have to believe a small dosage of Beatles went into this one, right? Give me more of those "Transatlanticism" chorus background vocals! This song could have been at least a minute longer and I don't think anyone would have complained.

7. Grapevine Fires

The subject matter will likely hit a little close to home for many people in the Southern California are. Interesting dreamy post-bridge outro. I know this may sound like an obvious statement, but some of their songs you listen to just for the lyrics not becuase the music is bad, but just because it's so imagery-rich that it's hard to do anything else. This one's a good example.

8. Your New Twin-Sized Bed

Another entry into uncharted territory (is that a synthesizer?) Just when you thought they couldn't add another layer. Good stuff, though.

9. Long Division

Nice play on the word "remainder." This is the kind of song that make you do the Jack Black bob-your-head-side-to-side move.  I guess that's as close to a guitar solo we'll get. Certainly has some life to it.

10. Pity and Fear

Digging the drum track. Would probably feel right at home on a Sting album. That awesome, out-of-nowhere chord makes the whole song. Gives it an air of mystery and exoticism, as if the drums weren't enough.

11. The Ice is Getting Thinner

A slow, melancholy song to end the album. Could it be any other way? It bookends the album quite nicely, wrapping it up in a neat little package. It's the kind of song that they'll play at the end of a movie to give you a heads-up that the credits are coming.

After a first listen, "Narrow Stairs" seems to work fairly well as a whole. It's a sonic representation of the cover art: tiny squares of different colors that end up creating an entire chromatic picture. There's a little bit of darkness (red), a little bit of adventurous (green), but it's mainly composed of those tried and true, heartfelt feelings (blue) that you come to expect from Death Cab.

Other than "I Will Possess Your Heart," which you'll probably be able to hear on any alternative radio station fairly often over the coming weeks and months, the two songs that really stand out are "Cath..." and "Pity and Fear." As for the others, I don't think that they're bad, but it may take a few more listens for them to catch on for me. After that, I'll probably be raving like everyone else.

Is "Narrow Stairs" a masterpiece? Probably not, when held up to Plans, or even Transatlanticism. But it certainly does further this quartet's musical versatility and willingness to embrace new elements of sound. 

What's that, Future Steve? I'm crazy? Yeah, you're probably right.

Historic Comedic Convergence

Back before he was the proud bearer of all things "truthiness," Stephen Colbert was an established comedian with a knack for improv. By 1999, he was already a veteran of Chicago's famous Second City troupe, working as an understudy for fellow Daily Show alum Steve Carell. It made sense, then, that the stars would align and that Colbert would land a one-episode stint on the classic ABC show Whose Line is it Anyway? 

At that point, he was already a few years into his stint with Jon Stewart and Co., so he wasn't a complete unknown. The best part about this story is that selected segments are up, for your viewing pleasure, on YouTube.

Here, he does a strangely-convincing German accent in a foreign film dub game.

Demonstrating a devastating combination of literacy and articulation, he's the perfect "Dating Game" contestant. (Apologies in advance for the random, mid-screen text.)

He got the chance to play my personal favorite WLIIA game, "Props."

His turn in "Scene to Rap" catches Wayne Brady a little off-guard. I can't decide if it looks better or worse this way.