Taking On 2015 - Top Films

Well, here we are, right after the Oscars and the official end to the year that was in cinema. Though there is still plenty of catching up that I wish I was able to do, but when is life not full of regrets, right? After a kind of lost year at the blog (where I should do a 2015 blowout post, but not sure that I'll get around to it), I feel compelled to continue at least the yearly tradition of writing up some things about films outside of short reviews on Letterboxd. You can also find a list there of all the films I have seen there. It helps to solidify my thoughts on how things have changed since the last time this happened. And changed they have. Also, it would not be a year end Top 10 if I didn't cheat. So let's start with that initial slip up.

Taking On 2012: Top Films (Q1 Quarterly Review)

The month, it has been tough, but slowly the lights at the tunnel's end are starting to appear. Hot (or rather cold, as this case may be) off the heels of the Top Tracks and Albums of 2012 so far, come the best films I have seen. As I compiled me list, which is a bit paltry, to state things lightly, I discovered that I barely had enough for a Top list. This should not imply, my friends, that 2012 has been a bad year for cinema, just that the heavy hitters are still to come. I mean Cannes hasn't even happened yet.

If you really think about it, it's impressive that we escaped the doldrums with as many competent releases as we did. Even if, you know, some of them are cheats.

Smash Cuts: The Secret World Of Arrietty

The Secret World Of Arrietty (Yonebayashi, 2012)

Cultures clash, worlds collide, while the trivial takes on the weight of the universe. Assuming it has a weight and we all aren't just floating along. But perhaps we do float along, movies carry us away into these worlds where the magic becomes real. Where we can forget the grim reality lurking in the backdrop. Our rats are only possible threats, we worry for naught when there are adventures to be shared. Or perhaps just borrowed. It's hard to gaze upon the foreign without interacting, for the imagination to build up a reality that just cannot be true, but these moments of hesitation are truly the ones that reveal who we really are, the fleeting glimpses stretched out until the reality is washed away by the dream.

We Can't Live This Way, No We Can't Live This Way Hey Hey

Frenemies (Mayer, 2011)

The latest Disney Channel Original Movie, Frenemies, starring Shake It Up starlets Bella Thorne and Zendaya Coleman was marketed as the second coming of Princess Protection Program, but in actuality is a much more disparate affair. While watching the opening credits I was surprised to see that multiple screenwriters were credited, in fact this sequence identified that the film was three acts (no shocker there) and each act was penned by different writers. Coleman and Thorne play two girls who start a fashion website, a plot line that is used as a framing device to explore three narratives that each involve friends turned enemies turned friends. In a way this takes a cue from the pages of Valentine's Day, but because the three stories all involve kids from the same town the characters occasionally intersect, basically providing new spins on traditional movie plot lines.

Final Farewells: Thoughts About, Reflections On, and Saying Goodbye To Wizards Of Waverly Place

As some may know, about a year ago I wrote a post about the end of Hannah Montana and how that ushered in the beginning of the end of Disney's latest golden age. And now, only about an hour ago as I type this, Wizards of Waverly Place concluded its run as Disney's longest running original series. As a whole the episode really allowed every cast member time to shine as the writing was as sharp as ever. It all built to a fairly predictable, but still emotionally engaging, conclusion that results with everyone happy.

But I'm not here to discuss the episode, I'm here to pay my respects to what is likely the channel's most accomplished series and to look ahead.

I Really Want To Go Outside And Stop To See Your Day

Winnie the Pooh (Anderson and Hall, 2011)

Growing up I watched, as I am sure many people did, a ton of Disney movies. Personal favorites include Hercules, The Lion King, and Bambi. I never really had too soft of a spot for The Many Adventures of Winnie the Pooh, despite enjoying a lot of the stories that were told. However, when the reboot, or continuation as the case may be, was announced I found myself excited to get back to the 100 Acre Wood and rediscover all of these characters again.

Breaking Boundaries: Journey To The Center Of The Film

This morning I caught wind of this new trend going around that seems to have originated from Top 10 Films where you (and I suppose me in this case!) are given a magic ticket that lets you jump in to any movie world that you wanted. I wanted to see this in action, and luckily Jessica at The Velvet Cafe and Alex at BoaCE both gave me a template to work from. The idea is apparently based on The Last Action Hero. Now I haven't seen that film, so instead of a ticket I will think of this more in the sense of time traveling device in Chrono Trigger. This time though it's like I'm my own Lucca!

The exercise seems fun, because I usually don't go in to films with the hope to escape from my real world. Instead, I want to learn more about myself and the world around me, so with that idea in mind let's take a trip down in to the bowels of my imagination. Welcome to my desires!

Are Notes Not?

So last night I found myself watching a White Stripes concert film/documentary hybrid, The White Stripes: Under Great White Northern Lights, and as I started to type up a reflection on the film I found that the actual substance to the film was not nearly as consequential as the thoughts the film raised. In fact, the film made me realize two very important things, and I keep questioning a few ideas in relation to these revelations.

Used To Be The One Of The Rotten Ones And I Liked You For That

the Last Song (Robinson, 2010)

A common complaint leveled against the present day Hollywood system deals with the lack of originality. Every film seems to exist as a remake or an adaptation, leaving creative filmmakers in the dust and keeping a fine control over exactly what ideas and perspectives are brought to a wide audience. While I do not find the constant desire to remake films or adapt existing franchises to the screen as a necessarily bad tactic, when looking at a film like the Last Song, based on a Nicholas Sparks novel that at the time of filming was still a work in progress, certainly could have used a bit more originality, and a much larger injection of creativity. But many films have enough intangibles to transcend typical flaws, so can the Miley Cyrus factor shoulder the weight of the film on her shoulders?

Forward Thinking: Music and Albums

This year I have been on a quest to listen to an album a week, a goal I was originally not sure I would be able to meet simply because I never feel like I give the albums I listen to regularly as much time as they truly deserve. Still, I have mostly be able to stick to this schedule - at least as far as final tallies go - in part because of the way the music industry has changed. On a weekly basis many artists choose to stream their newest albums on a website as a way to generate interest in owning the upcoming release. Additionally, many groups such as The-Weeknd have made their own mixtapes available for free on their own domains. Yet still, with the rise of the mp3 purchasing music has never been easier. External download services like Amazon's mp3 cloud service offers a welcome alternative to iTunes's stranglehold on the market. With so many great albums released so far this year, I find myself looking forward to what else is on the near horizon. As the weeks continue to rush by as 2011 starts to draw to a close, here are a few of my most highly anticipated albums.

Turn The Bunsen Burner On. My Creation Comes Alive

TRON: Legacy (Kosinski, 2010)

Earlier in the year we had princes of Persia, men made of iron, ogres in quadruple, more vampires, and dream theft. All, in their own way, disappointments, at least of the ones I had the unfortunate chance to view (so all except Shrek, Twilight and Prince of Persia). Without the potential promise of a Nolan at the helm or the inclusion of a Robert Downey Junior in front of the camera I placed on my 3-D glasses with great hesitancy as this sequel to a film I have only tangentially experienced through Kingdom Hearts II displayed the oddest warning about 3-D versus 2-D presentation typed itself across the screen. So without any of these draws, without this background knowledge, with all these warnings could TRON turn in a strong showing or make me wish I had been derezed?

Top 97 Films (Part Three)

I know I am a tad bit late in this year's entry of my Top 97 films, but as I wrote in yesterday's post it is because I have been mostly without computer for the past month. But Processed Grass is back, and so are the lists! Check out last year's installment and the initial installment to see how the list has changed over the past two years!

Escape Is A Paradox, Because The Childhood Is Locked In That Music Box

Lemonade Mouth (Riggen, 2011)

I have had a long standing love/hate relationship with many of the Disney Channel Original Movies; however, with the release of The Suite Life Movie earlier in the year and the recent release of the newest in the long line of High School Musical~esque films, Lemonade Mouth, I am finding fewer things to complain about in regard to the movies that the company is making for the small screen. Anchored by a startling strong cast of Disney's newer stars (Bridgit Mendler and Adam Hicks) and some new comers (Blake Michael and Naomi Scott) who make up the rag-tag titular band, the movie has a solid foundation to build some momentum. So does the latest Disney Channel Original Movie ever elevate beyond the strong foundations and become a film worth the time of the many people who would readily dismiss it? That question is, unfortunately, a bit difficult to answer.

The premise of Lemonade Mouth is fairly simply: a group of high school kids form a band to speak out against an overly oppressive principal. They are led by for Wizards of Waverly Place guest star Hayley Kiyoko in the role of Stella. We'll probably learn some sort of life afirming lesson by the end of the film too. You know where this plot is going. However, the way it gets there is notably more mature than many of the other Disney films that have preceded it. There are illusions to jailed fathers, broken homes, and fathers wedding girls half their age or something. Most of these are only touched on briefly, and I fault the film for that, but that they would even be brought up without being there simply to manufacture emotion, but rather to add to the characters and their relationships, is encouraging from a film that could very easily be a mash up of Camp Rock and High School Musical.

And as you might expect from a mashup of those two franchises, the true pull of the film should be the music. Here's the thing, I have watched all of the HSM movies and both of the Camp Rock movies. It is tough to compete with a combination of Demi Lovato and the Jonas Brothers, and the high points of the Camp Rock soundtracks are better than the best of the songs from Lemonade Mouth, but this film probably has the most consistently enjoyable collection of songs from any of the other films. And actually, what I love about Lemonade Mouth is how the songs reveal themselves during the film. They are able to be showcased naturally, as organic parts of the plot. There are not the bombastic, jarring breaks of a High School Musical, nor is there the artificially manufactured superstar led camp of a Camp Rock. Much like Camp Rock or Once, Lemonade Mouth is a musical, but the music happens in a believable context, and unlike Camp Rocke high school environment is much more (Baudrillard be damned!) believable. And the film benefits because of that, the immediacy of the relationships between the band mates is felt more strongly. These years are fleeting, there is no time to let this dream slip away.

Lemonade Mouth is not an in depth look at the high school experience, and despite some solid camera work and a striking color palliate used visually in the film the movie is not a technical wonder either. But the five actors that hold the band together do turn in incredibly solid, and usually more so, performances that showcase a natural chemistry between all of them. Combined with a well rounded and incredibly enjoyable soundtrack, Lemonade Mouth is a movie with more than enough charm, and even some deeper topics, to stand on its own as a quality diversion from the more serious elements of cinema.

Netflix Rating: ***/*****

Rich

Comments are welcome and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad.

All I Want Is Everything, Does That Make Sense?

Miranda Cosgrove - High Maintenance (2011)

Last year Miranda Cosgrove, teenage starlet of Nickelodeon's wildly popular show iCarly, released her first full length album, Sparks Fly. The record was, essentially, a brief 8 track sample that blended an inconsistent mash-up of styles. Much like other teen actresses turned singer (Selena Gomez), Cosgrove's debut was more notable as an experiment that seemed to throw as many styles at the wall in hopes that something would stand out. To be completely honest the record reminded me of being at a hospital, watching over a loved one strapped to a life support machine; at times there are peaks, you might even convince yourself that there's some hope, but ultimately you know how things are going to end. Suddenly a flat line fills the air, all your fears have been realized. But sometimes miracles happen. In the distance you hear a faint beeping. High Maintenance is here.

I approach any record where the primary artist does not write the songs with a great hesitancy, and while Cosgrove is given a partial writing credit on one of the tracks the CD never feels as if it is some great passion project pulsating with creative intensity. On her debut album she worked with Ke$ha on a song, one of the more racy tracks of an otherwise tame record, but here she teams up with the likes of Avril Lavigne and Rivers Cuomo, the latter also happens to be featured on the titular track. Teaming with these titans, Cosgrove seems to be making a push for pop supremacy, and the energy she brings to the Lavigne penned "Dancing Crazy" is a Nevildine/Taylor jolt that sets the tone for the rest of the brief record. Cosgrove's sound has been, in one short year, so refined and defined. She may not completely exist as an artist on the CD, but as a conduit and interpreter she brings an up tempo charm and playfulness to each track that marks her territory as a legitimate name in pop music.

But Cosgrove exists as more than just a name, and this CD is more than a staked claim in an supersaturated genre. She has discovered more than just a sound, more than just a vocal presence and identity, what the CD ultimately yields is an aspect that so many of her contemporaries have actively sought: maturity. The record's standout track, "High Maintenance," has Cosgrove question: "So what if I break a few glasses/kick a few asses?" Ignoring the subpar rhyme, the line is simply glossed over. But for a girl who makes her fame selling product to the youth this moment of seeming insignificance is a leap. But by keeping this casual, along with the inclusion of tracks like the Shontelle covered "Kiss You Up," Cosgrove quietly matures, unlike the needlessly abrasive cries for maturity heard on the Miley Cyrus CD Can't Be Tamed. Cosgrove does not give off the sense that she is a dog chasing the tail of maturity, it feels natural, it feels refreshing. I have walked in the forests, bathed in the streams, my faith has been restored.

Faith, however, is easy to shake, ye heathens. While the five songs that make up the EP are tightly wound, wonderfully united, each one has an odd trend of simply ending. There's no major climax, they don't even fade away, the songs simply stop. For a record so refined and developed the quick conclusions are jarring. The first song is perhaps excusable, but I can only be shaken around so long before it becomes annoying. But I pick nits when my complaints starts to be about the last couple of seconds of what are otherwise well constructed tracks. The backing beats pulse, the tracks are slightly overproduced, Rivers Cuomo sings about a quasi-relationship with a girl who is nearly young enough to be his daughter: this is pop.

Miranda Cosgrove is not an elite artist like Demi Lovato. She is, in a few ways, closer to an experiment in the sames ways that Lady GaGa exists in an experimental space. But they all exist on my iPod. High Maintenance does not ask you to question your world, it will bring only about as much transcendence as an hour session speed reading William Wordsworth, but sometimes Wordsworth is all we need. The daffodils dance, they dance crazy, and they never stop.

Top 2(2) CDs of 2009, A List in Pieces

It has certainly been a while since I have written about music, actually it has been a while since I have written much at all, so I am making a return to this writing show by doing a series of year end wrap up lists. Now you may be thinking that 2009 has already ended and these efforts are all irrelevant. You may also be thinking that such an endeavor is far too generic for this blog. Well, my year does not end until around March, so I'm technically ahead of the game by a few months. I also am going to attempt to avoid Top 5's, 10's, 15, and so on in favor of more obscure numbers. With that, let's get to the CDs.

One more disclaimer though, the top of the list is so tough, any one of my Top 4 can easily be my number 1, it's just an arbitrary order I picked, the records are all mostly fantastic.

20. Them Crooked Vultures - Them Crooked Vultures

I generally am a fan of these so called super groups, collectives of proven musicians all shunning their previous band mates and hoping that coming together will result in an amount of awesomeness that is both capable of destroying all other types of lesser music and probably ending world hunger, or aborting children, I'm not really sure. Either way, ASIA this is not, but I suppose that is not all bad, despite the involvement of the detestable Dave Grohl. Much like Grohl's other works, Them Crooked Vultures contains a ton of self indulgent mindless noise that is loud for the sake of being loud and, of course, thoroughly lacking much joy, but when the guys decide to focus on the music, shortening the length of songs and zoning in on provided concentrated loudness paired with simplistic lyrics, the record succeeds tremendously. At the very worst, there is nary a rock record that works better while driving, as long as you're driving with reckless abandon.

19. Jonas Brothers - Lines, Vines and Trying Times

Initially I had intended to conclude my list with this record, you know, really shock people when they opened up this countdown, but either way this record will serve as a barometer for the list yet to come, and what has already occurred/missed out on a spot. Jonas Brothers have never been my favorite band, sure "Burnin' Up" is fantastic but outside of that and a few other songs I have been mostly cold on spending any elongated time with the band. While this record did not convince me to reevaluate my previous feelings, this record was nothing short of an incredibly welcome surprise. While sitting down and resting on the sales success of records past was certainly an option, the record cast aside most prior convention and turned out to be a celebration of sound and style as the three sought to expand their musical capacity while making a slightly more mature record. From the heavy opening "World War III" to the hip-hop infused, sporting a guest appearance from talented artist Common, "Don't Charge Me For The Crime," Lines, Vines and Trying Times is a hopeful sign for the band's future records. The band does not sacrifice the heartthrob lyrics about love and life that have made them marketable in the past, but they do shed the traits that many detractors focused on in the past.

18. Bob Dylan - Together Through Life

Thirty two studio albums ago who would have guessed that Dylan would still be cranking out albums at an astounding pace and with such insane quality? Not I, because I probably wasn't even a sperm at that point in time. Either way, this album does prove that Dylan has lost little over the years, still beautifully written and delivered. Produced beautifully and a mystifying listen, this may not be on par with some of Dylan's best records, but when you have such a diverse and excellent catalog such a title is not nearly as important.

17. Miley Cyrus - The Time of Our Lives

In a year where nearly every Disney heavyweight released a full length CD the most successful starlet to date, Miley Cyrus, went against the tide and teased the world with an EP, collecting seven songs that boasted the wildly popular "Party in the USA." That song is more than enough to solidify a spot on this list, but top to bottom the whole CD is a fun ride that demonstrates Miley's ability to hop in and out of different musical styles from track to track, an impressive ability and one of her greatest strengths as a performer. I am still holding out for a proper follow up to Breakout, and less material under the less interesting Hannah Montana alias, this CD is enough to hold me over and another step in Miley's artistic development.

16. Annie - Don't Stop

The picture box tells me that music from Norway is all metal all the time. By extension, Norway must suck. But then along comes Annie to flip my perspectives all around. A pop parade that is a quick and joyful ride through wonderfully simplistic lyrics and catchy choruses which mask enough depth to make numerous listens not just enjoyable, but rewarding. From the in your face intro that is "Hey Annie" to the stunning conclusion that is "Heaven and Hell," this Annie record is not an experience, nor is it a mind changing listen, but it's refreshing, fun, and enjoyable. What more could you ask for from a record?

15. Various Artists - Hannah Montana: The Movie OST

Now I know I said I am not really a fan of Miley's work as Hannah Montana and I stick by that claim, but this CD isn't just Miley, and it's not just Miley being Hannah, and "The Climb" is way awesome. Plus there are some other great songs from Rascal Flatts and stuff, but obviously the standout tracks do come from Miley. Essentially what we have going on here is Purple Rain except the music is good, mostly, and the film is better, considerably. There are noticeable weak points on the record, but oh boy are those highs high. Plus it has "Hoedown Throwdown," what more could any CD ever need?

14. Various Artists - Danger Mouse and Sparklehorse Present Dark Night of the Soul

Another compilation album, right? Well mostly, I suppose, but when you put Danger Mouse mostly in charge of anything you know that the instrumental work is going to be top notch, and with the likes of Iggy Pop and company the record feels like a thrill ride of incredible proportions. The stand out track, "Angel's Harp," comes from former Pixies lead singer Black Francis, but there is nary a weak point on the album. I have not had a chance to check out the David Lynch visuals, especially after the marketing debacle that happened, but experiments like these, and obviously the mixture of so many different types of rock, are ventures I can fully endorse.

13. DOOM - Born Like This

Now I could spend this time talking about how it has been far too long for one of hip hop's most deceptively complex artists to release a new record, or I could go on about how DOOM's ability to change persona on command and from album to album is the marking that he has a better understanding of the genre than just about anyone else to ever hold a microphone, but I shall not. Instead I shall celebrate the magnificent "Gazillion Ear" track and the wonderfully tone setting "Cellz," beginning with a portion of the incredibly diabolical and moving poem "Dinosuaria, We," an artistic choice that hardly feels anything but natural. Much like every CD from DOOM it rewards repeat listenings and, unlike some of his weaker efforts, does not ever indulge in the beats; instead, the focus is right where it belongs, on DOOM's stunning lyrical prowess.

12. Various Artists - Have Yourself A Meaty Little Christmas

There are Christmas albums, there are comedy albums, and then there is this [adultswim] joyride. Hysterical from start to finish, with two standout tracks from Carl Bratananaluski about getting drunk, masturbating, and being unemployed before and after Christmas, a guest appearance from Neko Case, a great duet with Meatwad and Boxy Brown, and so much other comedic gold. Unlike other holiday music you just need to be ready to laugh when listening to this CD, it doesn't need to be Christmas. Which is genius, and is fantastic, and hopefully happens on a yearly basis because this CD is incredible.

11. Cage - Depart From Me

Cage is an incredibly interesting artist and with Depart From Me he continues to make strides from album to album. With Movies for the Blind he started getting used to his style, taking the most deranged rhymes and images a mind can create and stringing them together wonderfully. Then on Hell's Winter he built on that and started integrating the Head Automatica help on tracks. Then Depart From me happened and Cage essentially begins to craft a rap/rock hybrid that is artistically pleasing, mentally stimulating, and satirical enough without sacrificing the personal touches and disturbing marks that make Cage songs his own. A stunning record that needs to be listened to beginning to end in a single sitting for one Hell of an effect.

10. The Flaming Lips - Embryonic

It has been quite a few years since The Flaming Lips released Clouds Taste Metallic, one of the best CDs ever recorded. Of course The Flaming Lips are nota band that remains stagnant and the sounds on Embryonic are nothing like what one would encounter on Clouds. Though that is hardly a bad thing as the over distorted, hyper produced sounds blends with the lyrics to create a surreal experience. Add in guest spots by Karen O, including on the CD's standout "I Can Be A Frog," a childhood story told with hints of sexuality and a demonic vigor. It's hypnotic and it's stunning, like the CD as a whole.

9. Felt - Felt 3: A Tribute to Rosie Perez

An impressive trinity of hip hop's most interesting artists, the pairing of Slug and Murs feels almost natural, producing a lengthy record full of fun songs and some darker ones like "Ghost Dance Deluxe." What had me worried going in was having Aesop Rock, an incredibly talented songwriter and producer, handling the beats because, while Aesop does great work, his beats always seem so well crafted for his style that I was questioning Slug and Murs's ability to conform to Aesop's style without sacrificing their lyrical prowess. The results work much better than I could have ever anticipated. Is the CD a fitting substitute for a new Aesop CD or a new Atmosphere CD? No, but it's still a mighty fine package.

8. the Mountain Goats - The Life of the World to Come/The Life of the World in Flux

For about a year and a half now, I know that's not very long but give me a chance, the Mountain Goats have opened my eyes to the most beautiful music ever created. If I could write half as masterfully as John Darnielle I would probably kill myself because I would be so awesome incredible impressive. Either way, the latest from the band is a meditation on religion, an exposure of the faults and a celebration of the power. A brilliantly low keyed follow up to the insanely great four song Satanic Messiah EP. The partner CD, featuring scrapped tracks and outtakes is just as enjoyable. Darnielle makes poems come to life, a modern day Dylan, if Dylan wasn't still going strong. Religious or not this CD is incredible and revealing, it's what the Goats do best.

7. Japandroids - Post-Nothing

I'll keep things simplistic with the debut album from this duo. There is a certain majesty to the distorted instruments, the free vocals, the throw backs to power rock, the frantic nature of a few of the tracks, and the devastating beauty of "Young Hearts Spark Fire." Sure the record can evoke emotions, but it's the do-it-yourself nature of the record and how it all comes together to make something unique and magical that makes this record special. The downfall of lists is that this CD can't be my number one after proving for most of the year that it is nearly perfect.

6. Chamillionaire - Mixtape Messiah 7

This 4 disc behemoth is not nearly the artistic accomplishment that MF Grimm's American Hunger is, but as the final nail int he coffin that was Chamillionaire's glorious Mixtape Messiah series it is, with the exception of a non-existent final "Roll Call" track, as fine as a record could come. Cham proves, without question, that he is the most lyrically skilled rapper to ever grace a microphone, seamlessly sliding from beat to beat and making them his own on each and every track. Your mileage with the record will vary depending on how much you care for Screwed and Chopped music, but the brilliance on display here is astounding. Baller rap is not an apt title, Chamillionaire transcended that territory years ago. With Major Pain and Venom on the horizon, Chamillionaire's output remains impressive and the Mixtape Messiah Series has a fitting conclusion. Plus the CD was released for free on his website, which is even more incredible.

5. Lily Allen - It's Not Me, It's You

This CD almost escaped me in the shuffle, but apparently Lily Allen has been around for a while. Apparently she makes great music, as is proven by this record. The CD is devastating, it is funny, it is lovely. Lily assaults societal convention, consumerism, and various other topics over the course of the CD's run time, and all with a prowess and quite beauty that only serves to enhance the themes she hits on from track to track. "The Fear," for me, is one of the best songs ever written, but the entire CD does not have a blemish on it at all, from the opening bang to the closing "He Wasn't There," Lily Allen takes the listener on a ride to incredible places, whether you like what you find there or not. I am a weapon of massive consumption, but it's not my fault that's how I'm programmed to function.

4. Weezer - Raditude

I'll get this out of the way now, Raditude is, by a wide margin, Weezer's best CD since The Blue Album, and it may very well be even better than the band's masterwork. Rivers is at his finest here, taking the concept of "The Greatest Man That Ever Lived" and stretching it to an entire CD that makes use of Weezer's classic power pop rock, riffs on the club song trend in modern music with the delightful "Can't Stop Partying," and basically remains in full on sarcastic brilliance throughout the entire run with only a single lull in "Love is the Answer." I honestly cannot believe that this is not my top CD of 2009 because it is spectacular on each level. Rivers revels in the psyche of of an adolescent male, weaving in his ability to address deep themes with haunting lyrics, yet he improves on that and limits himself to simplistic rhymes and metaphors that are still more beautiful and impressive than even the best of writers. It captures the boy I once was and, as Rivers is more than willing to expose, in many ways still am. The CD is a power ride of unparalleled proportions and hopefully Weezer stays on this path for a long while to come.

3. Demi Lovato - Here We Go Again

Another CD I cannot believe is not at the top of this list. Easily my most listened to CD of 2009 Demi Lovato grows so much on her sophomore CD. Don't Forget is great, but from the opening bars of "Here We Go Again" to the sadly out of place "So Far, SO Great," Demi plays with the quietloudquiet dynamic that she first displayed in her debut CD, a technique perfected obviously by Pixies years before, but it takes center stage here as Demi separates from Pixies comparisons and shows a maturity that, if it wasn't for the Disney shackles, would likely make for one of the best CDs ever recorded. "Every Time You Lie," "Everything You're Not," and "Quiet," the last being a great encapsulation of Demi's style especially on her more rock heavy songs, are thrilling rides that not only pair excellent sound with great lyrics, but also show a development in her own unique style. And of course there are the more traditional pop stand outs like "Here We Go Again" and the wonderful "Remember December," but even these songs, like most of the tracks, have an underlying angst and maturity that I am sure will only grow as Demi is allowed to bring more and more of her own personality to her records. I cannot say enough good things about Demi, she is poised to own a genre of music with talent, grace, and maturity for years to come, existing not as a pop star, but as a rock musician and I cannot wait to continue the ride. I'm anxiously awaiting her next CD.

2. Lady GaGa - The Fame Monster

And now for the two CDs that completely blindsided me last year, one earlier in the year (that's coming up), and one in just the past couple of weeks. My aversion to the radio made sure that I had no exposure to Lady GaGa prior to my still unfinished (only 19 left, I should finish that) quest to listen to each song on Pitchfork's Top 100 Songs of 2009 list. And God Damn was I missing out. Sure the Deluxe Edition includes The Fame, a pretty great CD but one that is a bit top heavy, but The Fame Monster is an 8 song joyride that grabs hold at the very start with the incredible "Bad Romance" and does not let go until the rough "Teeth" at the very end. Mix in the entrancingly dark "Monster" about halfway through and the more upbeat "So Happy I Could Die" and "Telephone" throughout and you have an incredibly compact masterpiece. There is not one bad song on this CD, it is so well paced, so varied, and so enjoyable that I was, as I mentioned earlier, completely struck with how much I enjoyed this record. I don't know much about Lady GaGa's professional image, which is apparently all part of this artistic statement, but it doesn't matter, the CD is amazing. Perfect.

1. St. Vincent - Actor

So what could possibly beat out a perfect CD? Another perfect CD, obviously. St. Vincent has apparently done a few records before as well, but since I live under a rock I was completely unprepared for what Actor would deliver. With razor sharp talons Actor packs a scathing sarcasm that sits beautifully alongside the quiet voice that accompanies the dark and striking imagery on each track. With nary a low point to be found the high water mark arguably comes with the title track, but Holy Hell are "Marrow," "The Bed," "Black Rainbow," and "Laughing With A Mouth Of Blood" chillingly gorgeous. From the moment I heard this CD until I finish writing this list, St. Vincent has proven over the course of 2009 to have a tremendous lasting power and poetic beauty that has me eager to check out her back catalog. What a fucking brilliant piece of art.

And now for the two records that make this list a 21. I would provide some more exposition, but I'll do that as I list them.

Selena Gomez and The Scene - Kiss & Tell

I am upset that I was unable to put this on the list, but I am even more disheartened at what happened to Selena. Now I don't know her, I don't know what her artistic vision was, and I don't know how happy she is with the record. I do know that, for the most part, the CD is a thematic mess with flashes of brilliance. "Naturally" is a great single and a great pop song. "As A Blonde" and "Stop and Erase" are each fun pop-rock songs with a bit of commentary to each. There are other high points. But the record just lacks a uniform tone and it really feels like Disney is just throwing everything at the wall and seeing what sticks. I mean the album art is reminiscent of the Demi CD, some of the songs are reminiscent of Demi, others of Miley, and very few sound like uniquely Selena. I wanted to love this CD, and Selena proves that she certainly does have singing talent, I still prefer her vastly as an actress, but that's neither here nor there, she shows she can sing and sustain an entire album. I just hope they allow her more freedom with her next record and that she does have a single tone and definitive identity because I'm really sad that such a tragedy happened to her with this album. Do note though, there are a ton of positives buried in the uneven record, it just needs to be more focused.

Neko Case - Middle Cyclone

There is no excuse here other than I haven't listened to it yet. Been sitting in my iTunes forever, but I got it the same day as the GaGa CD to end the year and I have been listening to Lady GaGa too much to give this one the chance it deserves. Case was great in The New Pornographers, she's great on Have Yourself a Meaty Little Christmas, and I'm sure the CD is great. Just haven't gotten a chance to listen to it yet. Sorry Neko.

Comments are welcome and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad.

They Came In By The Dozens

So, I have been getting back into college routine again, so my reviews have slowed down slightly. As such, I'm going to attempt to do some quickie reviews and, when a film warrants it, give a full review. Also, I encourage that all readers check out my work, and the other contributor's works, over at The Reelists.

Inglourious Basterds (Tarantino, 2009)

While I have already engaged in a round table chat about Inglourious Basterds here, I feel compelled to talk about the film a little more. Little can be said about how great both Brad Pitt and Waltz are in their roles, so I am going to instead focus on some interesting aspects of the film. The choice to break the film into five parts pays off excellently, as it allows Tarantino to only use about 16 scenes or so over 2 and a half hours, without any of the parts ever dragging. The dialogue is gripping and keeps the film engaging throughout, which is good since the violence, which the trailer touts, is really not a huge part of the film. A truly amazing character study, Tarantino's latest is a love letter to cinema and a thrilling re-imagining of history. Not the year's best film, but it is right up there.

A or 4.647832946231756123956129

Wizards of Waverly Place: The Movie (Spiro, 2009)

As a fan of the show, I was pretty excited to have a chance to sit down and see if any of the magic would carry over to the film. Sadly, I did not find myself as enchanted with the Russo family vacation as I would have enjoyed. However, as a coming of age story the film works decently enough and the scenes with Jake T. Austin are absolutely hypnotizing. Golly, I am a pun machine today, I'll try to stop myself. David Henrie is, as expected, quite the talent and his performance here further cements him as a name to look for in the future. Selena Gomez is incredibly engaging as well, as she is on the show, and manages to hold up a film with a fairly flimsy plot. The ending is frustrating, but the direction is decent, the humor mostly hits, and some of the set pieces are truly spellbinding. Damn it, I'll stop here before I pain you any more. Could not say that I would like the film to disappear as it is a fairly successful extension of the show, but the film does not have enough extra going on to make it much more than casual escapist cinema with simplistic themes.

C+/B- or 3.192372148732804517358

Extract (Judge, 2009)

Let's get this out of the way first, despite any similarities that the trailer may imply, this film is not Office Space. Nor is the film the simplistic romantic comedy with a twist that the trailer implies. Extract is a film is a solid cast of comedians, headlined by Jason Bateman in a thrilling performance where he channels his Michael Bluth, and supported by the surprising Ben Affleck, always funny Simmons, and stunningly attractive Kunis. The Whig character could have been more fleshed out, and I could probably have used more Brad, but the story here is engaging and the laughs are pretty plentiful. Mike Judge has a knack for taking the mundane and making it comedic, and his style of humor comes shinning through during this film, but I will need another viewing to accurately comment on how deep the humor digs. I could probably see this becoming another 'cult classic,' and I may like it even more than Office Space, as this film gets a bit darker towards the latter half. Plus I think the driving force of the plot is more interesting on a base level, though it is not given all the attention it needs. Still, it's a film anyone with a dry sense of humor can love while also containing enough big laughs to entertain any dinkus who may tag along.

B+ or 3.878264872316549837561

Comments are welcome and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad.

If The Nightingales Could Sing Like You, They'd Sing Much Sweeter Than They Do

Cinderella (Geronimi, Jackson, Luske, 1950)

Despite the triumphs of the compilation Disney films that have been running for the past couple of months, I was pretty interested to finally get back to a cohesive start to finish plot film. Now as I look over the poster the one line that immediately jumps out is the one that compares this film to Snow White. Obviously a red flag is immediately raised because of how bad Snow White is in just about every respect aside from animation quality. Thankfully, as the film started playing, Cinderella proves to be the exact opposite of Snow White, great in just about everything aside from animation quality. All of the characters look great, and what they are supposed to be interacting with is always top notch, but all of the backgrounds in the film are so incredibly flat and lifeless that the film seems almost amateurish in its construction at points. Hell, during Cinderella's carriage ride to the kingdom the horses look as big as the buildings. The film flashes brilliantly when the animals and the people take center stage, and the rape scene is incredibly striking, but I could never bring myself from looking away from the backgrounds. During one sequence where Cinderella is in one of the bedrooms with her step sisters the bedpost was indistinguishable from the wallpaper.

Thankfully, the film remains compelling because of how well established all of the characters are. Sure they are not incredibly deep and the viewer mostly knows what the film has in store, I mean a cat named Lucifer is not going to end up being a good guy, but each character is given personality and the emotional investment is built from there. I was so relieved that the characters were not given the same lifeless models that Snow White assaulted us with that I really cannot help but triumph the film from a story telling stand point. Cinderella is shown as compassionate and this quality is reinforced throughout the entire film, just as her step mother is shown as evil and the film keeps coming back to her to remind the viewer that she poses an immediate threat. It's everything that was missing from the flat princess film Snow White. Paired with the very lean run time (71 minutes), Cinderella never overstays its welcome.

The action scenes are all mostly well paced as well. Sure the introduction and the bead stealing sequence get a little too comedic for my tastes, but on the whole the film really blends humor in excellently with the narrative, and the mice are still pretty charming despite my best attempts not to be won over by their dribbling moronic talk. Lucifer is a pretty imposing cat as well, and having him serve as an extension of the step mother is pretty great. The one scene that really worked for me was the final slipper sequence. The elongated nature of the scene makes it suspenseful right up to the very end, thanks in large part to all the obstacles placed in front of the mice. The one thing that bothered me though is that none of the stuff in the second flight of stairs should have happened at all. The step mother never locked Lucifer in there, someone would have noticed the dog running up the steps and breaking down a door, it just doesn't add up and seems really cheap to me.

Still, I enjoyed my time with Cinderella despite the film lacking any sort of logic for me to follow. The animation of the people is pretty impressive, and the animals all look great, plus the film is both enjoyable and complex enough to work for audiences of all ages. The real strength, as I touched on earlier, is the use of character establishment and following up with what the film presents. None of the characters are underdeveloped 'archetypes,' which I still think is a poor excuse for lazy writing, yet none go through any sort of dynamic noticeable change. It's all pretty impressive. I wish I had more time for this review, but my eyes are hurting for some reason. Must be the damn computer screen mixed with my allergies.

B+ or 3.79842395703415678234658139

Cinderella achieves an 11.6 out of 17, with 0 being Fantasia, 8 being my recollection of another specific film in this marathon that will be revealed when it has been watched, and 17 representing how great Hercules is based on my most recent watching, which was likely over the summer, or winter break.

Currently in the marathon the rankings go as...

1. Bambi - (16.3/17)
2. Song of the South (16.3/17)
3. Dumbo - (14.9/17)
4. Pinocchio - (13.3/17)
5. Cinderella - (11.6/17)
6. Melody Time - (10.5/17)
7. Make Mine Music - (8.2/17)
8. The Adventures of Ichabod and Mr. Toad - (7.9/17)
9. Saludos Amigos - (7.7/17)
10. The Three Caballeros - (6.66/17)
11. Fun and Fancy Free - (5.5/17)
12. Snow White - (2.5/17)
13. Fantasia - (0/17)

Comments are welcome and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad.

I Got A Head Full Of Ideas That Are Drivin' Me Insane

Here We Go Again (Demi Lovato, 2009)

While this blog has been geared exclusively toward film, I mentioned in the first ever post that it would cover the remaining cultural areas that I have not covered in my two other blogs. As such, I am not going to attempt to work up a weekly feature where I review one CD, new or old, each Monday. Hopefully this experiment will result in my gaining more exposure to music, both new and old. Next week I will likely discuss Cage's new CD, Depart From Me. Anyhow, let us begin with my first attempt at competently reviewing some music.

Hot off the heels of her debut album, Demi Lovato has returned with her follow up record Here We Go Again. While it seems irrational to expect that in just a short year's time that Demi would have grown immensely as an artist, her first album, Don't Forget, was still one of last year's best and certainly had me prepared for an album of at least equality quality. With the first album Demi showcased her vocal prowess as well as providing solid instrumentals that were complimented by lyrics which were a bit more edgy than other musical forays backed by the Disney logo, so even if she had only made minimal strides over the year, which this record clearly shows is not true and that Demi has grown a good deal in the short time, the record could potentially make for a great listen. Still, after being skeptical of the first released single I was slightly worried that I would not enjoy the record as much as I had initially hoped.

Here We Go Again - Fittingly, things start off with the single that I was at first skeptical of, and I'm really glad that the record chooses to put this song first because, after two or three listens, the song easily grew on me. Mixed with a constantly shifting instrumental structure that picks up and tones down on the fly, the intensity that Demi brings to the song is both admirable and impressive. In many ways this track sets the tone for the entire record and displays what seems to be Lovato's greatest strength: the ability to blend the loud intensity and quiet, soothing aspects of a song into one riveting piece of music.

Best lines: "We're falling together
You think that by now, I'd know
'Cause here we go, go, go again"

Solo - Beginning with an impressive vocal showing, "Solo" takes a few notes from the previous track and really builds itself around a prevalent theme that makes use of an interesting distinction between 'solo' and 'so low.' Not surprisingly, wikipedia lists this song as the first song on the album that Demi had a part in writing, so the fact that it is not as pop friendly and a bit deeper, both instrumentally and lyrically, is not overly surprising.

Best lines: "I fell through the hole
Down at the bottom of your soul"

U Got Nothin' On Me - First of all, I am not a fan of abbreviating 'you' to 'u.' Secondly, the song really rubs me the wrong way at the beginning when Demi comes out with an over produced shout of "You Got Nothin' On Me" repeating twice. But then Demi comes in and starts singing, and then the shout is worked in wonderfully with the chorus, and the heavy steady drum beat just blends with the words wonderfully, and the whole world is great. Demi really shows strength here as both a singer, though the whole record shows this, but also as a songstress. The occasional use of guitar, the heavy drums, and the way she uses the quick "me/I see" rhyme to keep the song flowing, it's pretty damn impressive. And then there's her signature quiet part. It took some time for me to warm up to it, but this is an early stand out track.

Best lines: "Goodbye to broken promises
Time to face your carelessness
Don't bore me with apologies
Or come back crawling on your knees"

Falling Over Me - Now for a change of pace, Lovato slows things down and keeps the subdued sound for the majority of the song. I am not a huge fan of the chorus, the male singer she has going on in the background really detracts from the perception of the personal element that the song attempts to hit. Thankfully, Demi doesn't share much time on the track and the back up occasionally works. Probably as a straight up technical vocalist this is the best showcase of her talent on the CD up to this point, but we already know she has a great voice. The song is enjoyable, but it is not one of my favorite tracks.

Best lines: "You're standing as a flower on a wall
The room is still, but we're about to fall
And all the names that brought us here
Simply fade away"

Quiet - Remember how I said that one of Demi's greatest strengths is her ability to switch from quiet to loud to quiet on the fly? Kind of like Pixies? Well think about a song that literally draws attention to her mastery of this technique and also works as a thematic song on the album. Basically the result is "Quiet," a thrill ride of sound prowess with enough catchy parts to make The Beatles, or any other overrated pop band, jealous. And the part where she mostly cuts instruments and then just builds. It's an amazing song and one of the record's best. Not to mention the up tempo and then cut out way it just ends. Incredible.

Best lines: "Don't stop, don't stop
Telling me goodnight
Just promise you'll kiss me goodbye
What's taking so long?
Don't tell me you're not gonna try
The tension's building in my mind
I wanna scream and I know why"

Catch Me - Wikipedia tells me this is the first and only song on the record penned exclusively by Ms. Lovato. On her previous CD the only track Wikipedia lists as such is "Trainwreck." If you take just these two songs and combine them, you have enough potential to basically assure that once the Disney muzzle comes off completely that Demi has more than enough talent to make one Hell of a record. The song uses some pretty simplistic metaphors along with the constant slow paced song that really displays Demi's impressive singing voice. Plus the use of violin or something is pretty cool, and despite being simplistic the metaphors and similes are pretty unique, so she is definitely developing as a song writer as well, which is great news for the future. Another great track in Demi's increasingly impressive library. And then there's that interesting thirty second up tempo part at the end which is kind of cool.

Best lines: "See, this heart
Won't settle down
Like a child running scared from a clown
I'm terrified of what you'll do"

Every Time You Lie - Starting off with a scratchy needle hitting a vinyl sound, Every Time You Lie is likely the most 'single friendly' song on the record for a while, but this quality is not bad as it ultimately proves to be one of the record's best tracks. The lyrical delivery is intense and occasionally mean, a quality reminiscent of the Bootleg Series version of Dylan's "Idiot Wind." Completely different sounds, obviously, but the same reserved cynicism. The song also possesses a quiet confidence to go along with this aspect, making it one of my personal favorites. The lyrics are mighty damn impressive as well, certainly not something I had expected to find on the record. Not to mention that short piano outro. Damn fine song.

Best lines: "I woke up the next morning
With a smile on my face
And a long list of gentlemen
Happy to take your place
Less trashier, much classier
Than who you prove to be
How long's it gonna take before
You see that she's no me?"

Got Dynamite - Demi quickly switches gears with the next track, the most overtly heavy rock inspired "Got Dynamite" track. The way sound is used here, both natural and touched up, is pretty impressive and both aspects work nicely alongside one another. The lyrics here are a little heavier as well and a bit darker than what the rest of the album has shown thus far. It lightens up a bit toward the end, but on the whole the song is probably the record's most interesting just because it is so unique when taken along with everything else. It's slightly sexual, it's kind of romantic, it's sort of light hearted, and yet it's oddly intense. Some people may have a problem with the song's all over nature, but I think it works excellently.

Best lines: "When the walls come crashing down
I hope you're standing right in front of me
Where my past lies all around
'Cause all you need to save me is to intervene
And make the walls come crashing down
Got, got dynamite?"

Stop the World - Starting off with the obvious theme of identity confusion in a teenager's life, really a universal quality, the song is mostly a standard love song that is a good deal more optimistic than previous tracks. Now I'm not usually one for optimistic things, songs or otherwise, but the song mostly works and proves to be a pretty good listen and certainly not out of place with the album's themes. Plus the song contains a few pretty great lines. I've also mostly given up on how Demi sings, she's a Hell of a vocalist, so I'll stop mentioning that and start concentrating more in depth with the songs. Just assume, from here on out, that she is singing great, unless I state otherwise.

Best lines: "Like Bonnie and Clyde
Let's find a ride and ditch this town
To keep it alive, keep it alive
Don't make a sound"

World of Chances - Apparently this song was co-written with John Mayer. I don't really know who he is, but apparently people say he's like Eric "Call Me Crapton" Clapton, which is not a good thing at all. Wikipedia also tells me that another song that he wrote for the album was left off entirely. I'll get back to that later. The chorus here is really nice and the song is another upbeat yet slow track. The lyrics are kind of pretty though, and Demi's voice really only enhances things because it is pretty soft and pronounced. The song is actually pretty liberating though and touches on a variety of themes, though nothing is completely fleshed out. It's a beautiful song to listen to and the saddened direction the song takes is pretty cool, plus it's not as overtly personal, making use of the third person, which is great because it should help cement Demi as a story teller as well as a songstress. Not one of my favorites, but still a good song.

Best lines: "Maybe you'll call me someday
Hear the operator say the number's no good
And that she had a world of chances for you"

Remember December - Talk about a change of pace though, Demi goes from subdued to high octane pseudo pop mixed with a bit of hard rock and some edgy stuff on "Remember December." I know I was not going to say anything else about how great of a singer she is, but this song once again shows just how great her range is, making for an even more compelling listen. Demi sings the song with a paradoxical fragile dominance that is pretty powerful, and the lyrical content plays to this pretty excellently. The themes here are both fleshed out nicely, presented in an interesting manner, and there's a cool little guitar solo that Demi eventually comes in over before cutting to another solo before going quiet. It's a high energy ride that is mighty impressive. Rock Band material, easily, though many of her songs are.

Best lines: "Just prove that there is nothing left to try
'Cause the truth, I'd rather we just both deny
You kissed me with those open eyes
It says so much, it's no surprise to you
But I've got something left inside"

Everything You're Not - So this song was apparently added amidst some controversy. It seems Demi wrote a song about her "relationship with her estranged father" entitled "For the Love of a Daughter" and another song called "Shut Up & Love Me," concerning material I do not know. In their place this song was replaced and, I'm not really sure what the CD qualifies them as, the next two tracks became additional bonus tracks. Anyway, the lyrical content is still pretty mature, and contains the record's most beautiful line, but the song is more open ended and can likely pass as a simple love song. Still, the song is mighty strong and very pretty, possessing a lyrical beauty that combines with a high energy up tempo chorus. It's also a pretty diabolical song at times, particularly the opening verse. All the verses are great though, the lyrics are definitely a huge strength here. A great way to start closing, or completely close, the album.

Best lines: "I used to sing to your twisted symphony
The words that had me
Trapped inside your misery"

and

"And I am done
With your twisted symphony
The words that had me
Sound like stolen poetry
I tore the pages and I can finally breathe"

Gift of a Friend - So this song is apparently the first of two bonus track, maybe. It's from Disney's Tinkerbell movie, and wikipedia says they are bonus tracks. My iTunes version does not label them as such, so until I also see a physical copy I cannot classify them as either. Not that it matters, bonus tracks are part of a record as any other tracks, especially when included on a record's standard edition. This song is pretty good as well. It's mighty straight forward and kind of uplifting. A little generic, and certainly not one of my favorites, but still enjoyable. The song is completely carried by Demi's voice though rather than the instruments or the lyrics.

Best lines: "And when your hope crashes down, shattering to the ground
You, you feel all alone
When you don't know which way to go
And there's no signs leading you home
You're not alone"

So Far, So Great - The title track from Lovato's Disney series Sonny With A Chance, "So Far, So Great," is an odd note to close on and really makes me wonder how it got on the record. Sure it's a great song, it's a Hell of a fun listen, but it thematically breaks from the rest of the album and undercuts the maturity that the record had established throughout. Incredibly pop oriented, the track is marked with an easy to swallow message and a great vocal performance from Demi despite it being an older song. While the album could have closed with a bang, and in many senses the track is an audible one, the track helps things go out thematically with a whimper. Still, a good song, just very out of place.

Best lines: "Everyone says
Don't get your hopes up
Learn the ropes
And climb the ladder"

So on the whole the follow up to Demi's stellar first album is not only an improvement in just about every possible way imaginable, but it also proves to be a beacon of shining hope for the young artist's future. Aside from being a talented vocalist, Demi seems to have the mind of a writer with a dark side that ought to add a good deal of value to her future projects. I look forward, immensely, to the time when she releases a record that is, from top to bottom, a product of her mind, but until then it seems that she continues to grow as an artist and is easily one of the brightest talents currently working today. Here We Go Again is nothing short of one of the year's best albums and a sign that the music industry, despite lacking in many areas, is still pushing some incredibly impressive talent on the masses.

As for a personal ranking of song preference, and this is tough because I do think all of the tracks are great, here is how I would rank things. I should also note that all comments about track listing, bonus track use, and what was cut and why toward the end of my recap is merely speculation coming from my conspiracy oriented mind, not fact.

14. Gift of a Friend
13. Falling Over Me
12. Stop the World
11. So Far, So Great
10. World of Chances
9. Here We Go Again
8. Solo
7. Everything You're Not
6. Got Dynamite
5. U Got Nothin' On Me
4. Remember December
3. Quiet
2. Catch Me
1. Every Time You Lie

You may be looking down here for a letter score or numeric value to sum things up, as I provide with my film reviews, but I do not feel one is needed. I break down each song shortly and I have been overwhelmingly positive. The CD is one of the year's best and a must own record, no score or easy to swallow number should be needed. For music reviews I shall not use a scoring system, I shall simply reflect, and the reader may draw conclusions from there. Next week I shall shift gears completely when I turn to Cage's third record, Depart From Me. Obviously the material will be much more overtly mature and I look forward to discussing that overlooked gem of a record as well.

Comments are welcome and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad.

To Share On Our Journey With All Of Mankind

The Adventures of Ichabod and Mr. Toad (Algar, Geronimi, Kinney, 1949)

Thus far, the theme of this marathon for me can be summed up in one word: discovery. Whether discovering great new films like Melody Time or Song of the South, rediscovering and being able to notice what is so great about Bambi, or discovering that I was never off the mark to begin with, ala Fantasia, I can say with confidence that I have discovered a good amount by revisiting the Disney Animation Stuido's compendium. So it is only fitting that this next film is one that basically allows for all types of discovery.

I have come across a film that, for all intents and purposes, should be very close to my heart. When I went to Walt Disney World as a child my favorite ride was always Mr. Toad's Wild Ride. Then it was shut down and my spirit was crushed like Smarty Jones's hopes at a triple crown after losing the final race. Despite loving the ride, I had never watched The Wind in the Willows short that gave rise to this attraction. On the other side, I had, and likely still do have, a VHS copy of The Legend of Sleepy Hollow and I watched it about once a week as a younger child. Still, it has been years since I have watched that short film and I like to think that my tastes have refined a bit since then.

Oddly, after spending some time with the film, and taking a day or so to reflect on what exactly I had just watched, I found that my expectation, that I would be able to confidently say that Ichabod makes for the better segment, is mostly wrong. So that brings me to The Wind and the Willows. Starting off like a simple story, which splendid narration to boot, once the introductions are finished and we get straight into the characters actually being characters the film picks up considerably. The animation is really nice and a number of the shots are absolutely brilliant, but the strength comes in the voice acting. Comedy hits just about every time it is used and the performances from each actor make for some really entertaining dialogue.

Along with the dialogue, the music is really integrated into the story pretty well and is a nice precursor to the more modern Disney musicals and less like the classics. The action sequences are pretty thrilling as well and then there is the whole commentary on the justice system that is juxtaposed beautifully with the comedic world. It's a really carefully constructed film that is a blast to watch and I can certainly see myself revisiting this one in the future to see not only how well it holds up to repeat viewings, but to also see what other subtleties I may have missed. Not to mention that the characters are just fun.

Jumping from fun, or as fun as a bunch of weasels getting drunk can be, to the more macabre, we hop across the pond for a bit of American fiction. Much like The Wind in the Willows, the narration here is pretty fantastic and, I would contest, is what saves the film from being pretty bad on numerous occasions. The character animation, aside from Crane, is pretty standard, and the scenes leading up to the party are all downright ugly, it's like Disney forgot how to draw. The music is good throughout, but that's mostly Crosby's doing as it really never really separates from the story telling quality into the film story that The Wind in the Willows employs, and the story is a personal favorite so I cannot complain there, but I would have liked it more if the film had actually broken the narrative aspect and simply introduced the characters and started developing them a bit, like the characters in the Mr. Toad tale.

Unlike in the Mr. Toad story, here I felt like I would be just as well off reading the Sleepy Hollow tale. Up until the party and chase sequence though the film is simply passably watchable and proves to be the lowest point of the film as a whole. However, the party until the film's end is absolutely brilliant and because the story is so short it makes it worth watching.


Ultimately, this film is nothing more than a standard package film without too much depth, aside from the commentary in the Mr. Toad story and the animation toward the end that makes for a truly diabolical Sleepy Hollow tale. I could see myself listening to Crosby's songs on my downtime, but I can see that with a ton of Disney films, so despite him having a really good voice and helping to make what could otherwise be a dull film watchable until it picks up I do not think that is enough for me to say that the Ichabod Crane adventure is anything special. Actually, as a whole I do not think that the film is anything special and, taking it as a package film, Disney could hardly end on a higher note than Melody Time, but for an enjoyable watch that is a tad above pretty good, this film succeeds.

I should also state that, unlike Fun and Fancy Free, the pacing here is brilliant and neither segment overstays nor under stays its welcome. Sadly, this also means we lose out on those hysterical puppets, but at the expense of a better film, so I guess it all works out. I suppose that's it for the package films. My floors are dirty...bring on Cinderella!

C/C+ or 3.2723786978156217956231

The Adventures of Ichabod and Mr. Toad achieves a 7.9 out of 17, with 0 being Fantasia, 8 being my recollection of another specific film in this marathon that will be revealed when it has been watched, and 17 representing how great Hercules is based on my most recent watching, which was likely over the summer, or winter break.

Currently in the marathon the rankings go as...

1. Bambi - (16.3/17)
2. Song of the South (16.3/17)
3. Dumbo - (14.9/17)
4. Pinocchio - (13.3/17)
5. Melody Time - (10.5/17)
6. Make Mine Music - (8.2/17)
7. The Adventures of Ichabod and Mr. Toad - (7.9/17)
8. Saludos Amigos - (7.7/17)
9. The Three Caballeros - (6.66/17)
10. Fun and Fancy Free - (5.5/17)
11. Snow White - (2.5/17)
12. Fantasia - (0/17)

Comments are welcome and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad.

Hear the Rhythm and Rhyme? It's Melody Time!

Melody Time (Disney, 1948)

Plowing through the marathon we come across what I assume to be the last of the package films from Walt Disney, Melody Time and The Adventures of Ichabod and Mr. Toad. I have yet to watch the latter, though I watched the Sleepy Hollow short many times as a child and am mostly confident in saying that Melody Time is the final of the psuedo-Fantasia films for quite a while. Now I also do not usually have a mind to give things away before writing up my reviews, but my feelings about the atrocity that is Fantasia are well noted so I think that it should come as no surprise when I say that Melody Time, a film consisting of six short films all paired with songs ala Make Mine Music, is worlds above that instrumental insult of a film.

However, what came as a surprise to me was the fact that Melody Time is not only worlds above Fantasia, but it is considerably better than any of the package films of the same type to precede it, excluding Song of the South obvious, even the incredibly surprising Make Mine Music. The common complaint against Make Mine Music was the presence of at least three subpar sketches as well as animation that simply was left over from Fantasia. Now I have contested that in my marathon post about that film, but what I found incredibly striking about Melody Time is that is seems to be a direct response to both Fantasia and Make Mine Music. None of the segments here are anything worse than pretty good, the animation, especially of water, is incredible, and it even has segments succeed that lean more toward the instrumental side of things. My praise of Make Mine Music as being everything that Fantasia should be may have been a bit hasty as I am now fully able to proclaim Melody Time as the best representative of what Walt Disney was attempting to capture during this time in his career. Sure it sacrifices a majority of what made Make Mine Music so diabolical, but who gives a damn? It succeeds at just about everything and makes for a compelling and fun watch.

Now let's break down segments. Things kick off rather quietly with the "Once Upon a Winter Time" short that features a couple ice skating while two rabbits imitate them. Kind of cutesy and lovely and stuff like that all paired with a nice song about how great December is courtesy of Frances Langford. Then shit starts to get real! Lyrics are abandoned as the instruments pick up and make for a thrilling action piece that never overstays its welcome and always is progressing. It all wraps up nicely and really serves as an excellent starting point because it shows the film's ability to blend both the lyrical with the musical. Now it is followed up with a full on instrumental nightmare entitled "Bumble Boogie," but the segment actually works because the instrumental is so powerful and fast paced while the segment is rather short. It's a pretty nice trip too that rivals "Elephants on Parade" from Dumbo as one of the best uses of imagination thus far.

Yet the film does not settle for instrumentals and changes paces rather nicely to the lyrically driven "Johnny Appleseed" segment which, just a side note here, features a word that I will be integrating into my daily vocabulary, "applesass." The overt Christian references in this one would probably make even the most radical televangelist blush, but they are not a huge problem and add to the whole blind devotion thing that the tall tale relies on to explain part of Johnny's reasoning. It's pretty quickly paced and mighty pretty to look at, but the stand out comes at the end and how the film handles Johnny's passing. The final few scenes are beautifully handled and simply engaging cinema. You think Up handles death nicely? Well does that film ever tell an old man with the mind of a child that his corpse is a husk? I thought not! Diabolical Rating: SATANTENSE!


Things get toned down a bit from there, only slightly though, when the "Little Toot" segment begins taking over. It starts off feeling slightly like an aquatic version of the plane part from Saludos Amigos, but the song is actually really charming and the devilish antics of Little Toot are pretty much established from the beginning. His story is pretty predictable, but it's still a joy to watch play out and the animation here is probably the second best of the entire film. The waves during the rescue scene are simply stunning and it is really hard not to get caught up in the adventures of the tiny tug boat. You really are a Big Toot now Little Toot! Probably the most 'cartoony' of all the segments, but still a joy to watch.

Next the film starts to speak to the poet inside of me, in fact it sings to the poet inside me. "Trees," sadly not "The Trees" by Rush, is sang along to some orchestra playing along as we watch trees change through the seasons. Is this where Malick gets his nature fetish? Probably not, but the animation of the title figures are pretty fucking marvelous and, paired with the poem, make for one of the most beautiful and powerful segments in the entire piece. I may even go as far as to call this my favorite segment. The images used are fantastic and the various types of animation are superbly handled, clearly a ton of time and love went into the crafting of this segment. It's truly an artistic accomplishment on par with Bambi as far as Disney animation in the marathon so far is concerned.


The last two segments I imagine people will have trouble with if they are cynical and pessimistic bastards because one is probably a scrapped segment from The Three Caballeros and the other has a lot of live action at the beginning, but I think both are pretty great. The first segment, "Blame It On The Samba," is once again pretty visually stunning and mighty fun. The way the lady swirls in alcohol is cool as well, I liked that a ton because it's like the film is saying drink, dance, and find pretty girls. It's a fun segment with a fun song. I was also a pretty big fan of the closing "Pecos Bill" segment because, aside from the really entertaining live action, the tall tale is interesting and the animation is fun, plus it tells a full story, which is refreshing in a segmented film. The idea of American mythology is really interesting to me as well, reminds me of Greek myths except they are representing the USA, so that kicks ass. USA! USA! USA! It's a great way to close out the film.

Melody Time truly is the culmination of the package films to come before it and it does just about everything spectacularly. Not only is the film leaps and bounds ahead of Fantasia, but it's really so far ahead of the best of these films that I cannot help but be impressed. While there may be questions of the validity of these films in the Disney marathon or if what Walt tried to do was worth all the effort and the years of 'sub par' films, I think that Melody Time truly shows that he was on to something and that the experimentation, both the successes and failures during this time, were incredibly worth while. One of the most entertaining and enjoyable films in the marathon thus far and a perfect way to close out the musical package films.

B+ or 3.998234812370482157801

Melody Time achieves a 10.5 out of 17, with 0 being Fantasia, 8 being my recollection of another specific film in this marathon that will be revealed when it has been watched, and 17 representing how great Hercules is based on my most recent watching, which was likely over the summer, or winter break.

Currently in the marathon the rankings go as...

1. Bambi - (16.3/17)
2. Song of the South (16.3/17)
3. Dumbo - (14.9/17)
4. Pinocchio - (13.3/17)
5. Melody Time - (10.5/17)
6. Make Mine Music - (8.2/17)
7. Saludos Amigos - (7.7/17)
8. The Three Caballeros - (6.66/17)
9. Fun and Fancy Free - (5.5/17)
10. Snow White - (2.5/17)
11. Fantasia - (0/17)

Comments are welcome and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

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