writhaus

It was a little longer than a year ago, as I recall, when I stood at the assignment desk at CN8′s New Castle, Del., studio waiting for my first assignment of the day when, while flipping through the various daily newspapers on the counter, I read that This American Life was being developed for television.

I discovered the radio show while working in Raleigh, N.C. The radio stations in the Triangle didn’t play any music I wanted to listen to, so I gravitated to NPR. One Sunday while working, I listened to this program and laughed when the interstitial music was a children’s song about where the dinosaurs went. I was hooked from that very moment. It didn’t hurt that it had some of the most compelling journalism I had heard before or since.

Given that the show comes from radio, you might expect me to fear its transition to video. While I wondered how they would pull it off, I was hopeful from the start. The show is always so smartly put together that I had complete faith in Ira Glass. My worst fear was that video would distract from the narrative presentation. Even with that, I still felt pretty confident that it would work.

I just finished the first episode. I am happy to report that the transition is mostly problem-free. For those familiar with the NPR show, the formatting is the same. For the uninitiated, the show features a variety of stories on a set topic. This episode featured stories about people getting reality checks. The initial episode features two acts during the course of a half hour. I’d hope for more, but with the NPR-to-TV transition, I can understand timidity on the part of Showtime. The stories cover the Fisher family of La Grange, Texas, and their bull, Chance, getting a second chance at life and a New York-based improv group that attempts to give a Vermont-based band the concert of their lives.

Ira Glass has just as good a television presence as he does a radio presence. Best of all, I think he must be recording his track in his normal studio, so his voice is every bit as rich as it is on the radio. Both stories are presented by him, which is fine, although I hope some of the regular contributors make appearances as the series progresses.

These positives do not mean the show is without flaws, though. This American Life has its own almost jazz-like rhythm, which might be off-putting to regular television viewers. The production values appear sound, but I wonder about some of the camera and editing decisions made, not the least of which is why it looks as if it was produced fully with Final Cut Pro. I’m hopeful time will solve these issues as people get into their grooves. This criticism is limited to the first act, as the second is mostly footage shot by the improv group. The quality of that video is only OK, but that’s completely understandable.

In the end, though, the show is a success. Mr. Glass definitely brought his “A” game, delivering two stories that you won’t see on any normal news outlets. If this show is as successful as it deserves, who knows what will happen next? Will Car Talk be brought over? What about Wait, Wait, Don’t Tell Me? If nothing else, maybe this will help funnel money into the public radio stations that back these shows. It brought a smile to my face to see the WBEZ placard at the end of the show after the credits had run.

Notes: For more on the cloning of Chance, you can read this BBC article from 1999.

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Frank Miller liked the movie The 300 Spartans. He liked it so much he wrote his own comic based on the Battle of Thermopolae titled 300 and published by Dark Horse Comics in the late ’90s. Miller is now something of a movie-industry darling, having had teenagers who read his cutting-edge comics work in the ’80s grow into filmmakers in the ’90s. With the success of Sin City, it was only a matter of time before Hollywood began hydromining his back catalogue of work for adaptable films. It’s our luck that 300 was chosen.

Zach Snyder directs this highly stylized adaptation of Miller’s comic. A lot of liberties are taken visually, but the core story is still as stirring as it was 2,500 years ago. Spartan king Leonidas knows the Persians are coming and that the Greeks are not yet prepared to stop them. He takes it upon himself to gather a 300-man group of his warriors and to lead them against Xerxes’ Persian forces. At the hot springs of Thermopolae, Leonidas has his men hunker down as the Persians approach. When the battle is over, Sparta and Greece will be changed forever.

Following in the footsteps of Sky Captain and the World of Tomorrow and Sin City, 300 is a mostly green screen affair. The material actually lends itself to this technique. To a very large extent, the film feels more like a stage play until the battles start. I was initially apprehensive about a two-hour movie basically being a three-day battle, but Snyder handles it nicely. The visual flair of the film is excellent, too. The Persian forces look exotic, mystical, and dangerous. The Spartans are appropriately buff, with the crimson of their cloaks one of the few colors standing out in the desaturated palette.

It is not a perfect film, though. Because this movie is about a battle, there isn’t much for the actors to do. Gerard Butler does an acceptable job as Leonidas. He has the proper gravitas for the role and a voice that lends itself to the passages he needs to speak. Lena Headey does a nice enough job as his queen, Gorgo. Dominic West is appropriately sleazy in the role of Theron. Outside these roles, there really isn’t much for the actors to do. There is little time given to what motivations the Persians had for their Greek invasion. As a matter of fact, other than fighting, the Persians have little to do at all.

Overall, though, the film is largely enjoyable. The design-work makes full use of its computers, and the battles feel real and epic. That’s likely the highest compliment the film can be granted.

300 was viewed at the Pacific Theater’s Paseo Stadium 14 on March 10, 2007.

For more on the realities of Spartan life in ancient Greece, browse this article from the Toronto Sun.

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2 stars

Clap Your Hands Say Yeah were the darlings of the indie scene for a hot second after the release of their self-titled debut in 2005. But the nasally and whiny voice of singer Alec Ounsworth has gotten old. The release of their second album, Some Loud Thunder, has made it clear that the novelty of this band has worn off.

The title track opens the record, and you think there’s something wrong with your stereo. There’s so much static that it seems like a mistake. Most of the songs wander aimlessly through space without much focus. The exception, however, is the best song on the album, “Satan Said Dance.” It has a steady, danceable beat with cool and weird noises scattered throughout in the background. It certainly is Clap Your Hands at their best. Two other songs help “Satan Said Dance” somewhat save this album: “Goodbye to Mother and the Cove” and “Underwater (You and Me).”

I would not recommend buying this album until you have heard the band for yourself. You either will hate Ounsworth’s voice or you will find it fresh and unique. Clap Your Hands Say Yeah certainly is an original band, but most of the good things they do are done better by someone else.

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

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5 stars

This record is huge. Arcade Fire‘s sophomore album, Neon Bible, is the best album so far this year. This album is full of hopelessness, insecurity, and paranoia, which all have been written and sung about before. Arcade Fire, though, do it on a scale unmatched by any of their peers. And they somehow avoid any pretension, including when they sing in French.

The Montreal septet recorded Neon Bible in a church. The album, however, has little to do with religion. One exception is “(Antichrist Television Blues),” in which a Joe Simpson-like man reaches out to God and talks about his daughter: “Dear God, I’m a good Christian man… My girl’s 13, but she don’t act her age. She can sing like a bird in a cage. O Lord, if you could see her when she’s up on that stage!” Singer Win Butler channels the voice and style of Bruce Springsteen in this track with great success. Most of the time, though, Win wails as if he’s in front of a large and hopeless congregation. His mournful and pleading voice is reminiscent of David Byrne‘s voice, but his style is all his own.

Neon Bible features a sense of hopelessness only touched on slightly in the band’s 2004 debut, Funeral, which was also a masterpiece. The haunting opener to Neon Bible, “Black Mirror,” sets the tone brilliantly. Next comes the paranoia of “Keep the Car Running.” “Keep the Car Running’s” abrupt end is one of two such endings that brings a sense of uneasiness. The second song that has an abrupt ending is “(Antichrist Television Blues).” The silence between that song and the next song, “Windowsill,” is chilling. “Windowsill” is a phenomenal protest song. Butler, an American expatriate, is pretty direct in his message: “Don’t wanna fight in a holy war. Don’t want the salesmen knocking at my door. I don’t wanna live in America no more. ‘Cause the tide is high, and it’s rising still. And I don’t wanna see it at my windowsill.”

Neon Bible features some amazing lyrical imagery. Water and oceans are mentioned a lot, giving a distinct feeling of loneliness. “Black Wave/Bad Vibrations” conveys a feeling of dread. There’s the lonely “Ocean of Noise”: “Left in the morning while you were fast asleep into an ocean of violence, a world of empty streets.” And “The Well and the Lighthouse”: “So down I fell, down into the water black. My prison cell, only the moon was shining back.”

The band covers itself with “No Cars Go.” The song originally appeared on Arcade Fire’s self-titled first EP in 2003. The more-refined Neon Bible version has a slightly faster tempo, and it fits on the album perfectly. The finale, “My Body Is a Cage,” is a haunting track that crescendos to spine-tingling heights just when you think the record can’t get any better.

Win Butler’s wife and bandmate, Régine Chassagne, did much of the orchestral arrangements on the record, and they’re phenomenal. The organs and strings add so much depth to the music, especially in “Intervention” (also an exception to the religion thing). The extent of the depth they have rarely is seen in indie music. Arcade Fire is an extraordinarily talented band who have left their mark on the indie scene. Buy this record!

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

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3 stars

Lily Allen has been popular in the UK since last year, and she finally has made it to this side of the pond. Allen’s debut album, Alright, Still, is a pop record with attitude. She’s a pop diva alternative music fans can appreciate.

Allen’s sass is evident on the record’s first single, “Smile.” It’s a catchy song, and the fact that her delivery is so nonchalant makes the lyrics sting that much more: “At first when I see you cry, it makes me smile… At worst I feel bad for a while, but then I just smile.” “LDN” features a saccharin melody and an affectionate, yet sarcastic take on life in London with enjoyable effect. “Alfie” is a big sister’s song to a little brother. It makes for a cute and fun song. “Oh, little brother, please refrain from doing that. I’m trying to help you out so can you stop being a twat.” Yes, she’s got a mouth on her, too.

The record does have its share of filler such as the lame “Friday Night.” I can’t remember, however, the last pop album that didn’t have a lot of filler. The lyrics are lame sometimes, but in general, this is a very refreshing pop record. The music can be interesting at times, including some good piano and horn work. You’ll be charmed by Allen’s cuteness and attitude. Keep it down, though, guys: “Oh my gosh you must be joking me if you think that you’ll be poking me.”

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

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My thumb is going pale and numb from pressing the “x” button, but this guy is right on my tail, so I can’t let up. We are coming up on the last turn. If he goes to the right, I know I have him. Come on, come on. Yes! There he goes! As I round the curve, a giant hamburger is in the track! The King is there! What the heck?

Welcome to the world of in-game advertising.

There are no two ways around it. Gaming is expensive, whether it’s plunking down six Benjamins for a system or six Hamiltons for a game, and prices only are going higher. A CESA report from 2005 pegged game development costs between $1 million and $2 million. Namco expects those numbers to increase to as high as $10 million for the new generation of consoles. Given how price-conscious gamers can be, it’s no wonder companies are looking to advertising to fill the void.

The 18-to-34-year-old male, the prime demographic for advertisers, seems not to mind the ads much, based on consumer research from Parks Associates. That’s good news for advertisers looking to invest in this business that generated $56 million in profits in 2005. Analysts predict that number will keep growing to as high as a billion dollars. Microsoft-owned Massive, Inc. claims $1 to $2 made in advertising per unit shipped as part of their ad network.

Microsoft suggests their commitment to gamers thusly: “Massive and Microsoft will continue to prioritize gamer satisfaction, applying very rigorous standards to ads before they can be included in a game. These standards allow for only those ads that add realism and entertainment value to the overall game experience, not those that might detract from gameplay.”

How do you balance that, though, with how desensitized we get to advertising? Remember those annoying Flash-based ads? Those were advertisers doing whatever they could to be noticed after banner-ad click throughs started falling. Will it happen in games? History says…maybe.

Advertising tends to get more boisterous, from classic advertising such as sponsorships to 30-second ads to giant, helium-filled airships hovering over sports arenas.

The good news is that after advertiser hysteria wears off, things tend to settle down. Combine that with our own desensitization, and in-game ads will be no more annoying than when a cleaning lady on TV reaches for a can of Pledge.

As one of the last places to reach young males, in-game advertising isn’t going anywhere. As long as it contributes to cheaper, better games, I’m OK with that.

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Whatever negative attributes he has, John Woo really does know action. In my opinion, his best work was done in Hong Kong, culminating in Hard Boiled, but he has crossed the Pacific and become something of a Hollywood mainstay. Mission: Impossible 2 has been the pinnacle of his American success, with a gross of more than $200 million.

With the actors and action, it’s easy to see why. As with the prior movie (and a lot of Woo’s Hollywood output), the story takes a back seat to the action. What plot there is revolves around a stolen virus and the Impossible Mission team’s quest to snatch it away from the baddies. To do this, they enlist the help of Nyah Nordoff-Hall (played by Thandie Newton), the ex of the lead thief, a rogue IMF agent named Sean Ambrose (Dougray Scott).

The action set pieces are plentiful and enjoyable. The last half hour consists of a thrilling motorcycle chase and a (mostly) hand-to-hand throwdown on a beach. There are a lot of explosions and a few genuine tense moments.

Woo has a tendency to let things run long, and that negatively impacts the picture. At just longer than two hours, the film could have been much better with about 15 minutes removed. A lot of that has to do with Woo’s trademark style, though, which includes a lot of slow-motion effects and operatic-action moments. If you are a Woo fan, you won’t be bothered as much as I was by them.

Overall, the film is enjoyable summertime fluff, as it was intended to be. You will enjoy the action, ignore the story, and have a mostly good time.

The version viewed was Paramount’s HD DVD released as part of a Mission: Impossible three-pack. The transfer was generally outstanding, although there are a few technical issues with the film crew and their inability to keep people in proper focus. In the era of high definition, this is becoming an issue, as I am noticing it more and more. Hopefully, Hollywood will adapt.

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I was thinking about the movie reviews and realized there might be some questions as to my methodology and why I seem to enjoy every movie I review.

It’s like this: Because writhaus.com is a small-time operation, we don’t get free copies of movies (or music CDs for that matter). Everything I review is something I have bought or rented. It should go without saying that when I am laying out my money, I tend not to want to spend it on something I don’t think I will like, nor do I relish the idea of spending an hour and a half plus with a film I will regret having seen.

I assure you, there are tons of movies I think are absolute garbage. One day soon, I will recreate my “20 All-Time Worst Films” list from YMDb. Then, you can see for yourself. In the meantime, enjoy these reviews, and rest assured at some point I will take a chance on something, hate it, and write a scathing review for you to relish.

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Why it happens, I have no idea. Maybe they just hope to capitalize on confusion. At any rate, it’s often the case that two movies with similar themes are released in the same time period. Think of Deep Impact and Armageddon or Dante’s Peak and Volcano. So it was with Stir of Echoes, which had the unfortunate task of following a certain Bruce Willis/Haley Joel Osment horror pic. For once, though, the second pic wasn’t a stinker. In fact both these pictures hold up well today, nearly a decade after their theatrical releases.

Kevin Bacon plays Tom, an everyman who lives a grounded, down-to-earth life with his wife, Maggie, and son, Jake. At a party, Tom’s sister-in-law hypnotizes him, and after that, he sees things…not happy things, either. As the film progresses, we find that Tom sees the ghost of a girl missing from his neighborhood. Tom is compelled to find out what she wants, which leads him into the dark recesses of his neighborhood and home.

David Koepp, who shares a writing credit, directs the film with a steady hand. Being no stranger to the horror/suspense genre, Koepp manages to avoid some of the pratfalls that other directors fall into. The film keeps moving at a brisk pace, never allowing you to grow bored. He also eschews gore for genuine tension. When Bacon’s character is having visions, I found myself leaning forward in anticipation, the hairs on the back of my neck standing on end.

Another positive is that this film does not over-rely on flashy effects. From the same time period, Jan De Bont gave us a remake of The Haunting that was all style with no substance. With Stir of Echoes, Koepp lets his actors do the heavy lifting, and with the underrated Kevin Bacon starring, that’s a good thing.

I screened the film on Lionsgate’s recent Blu-ray release. I immediately was impressed with the transfer and DTS soundtrack. Grain was never an issue, and the print used must have been pristine. Rarely have I enjoyed blacks so rich and deep as in this transfer.

While not a flop, Stir of Echoes definitely was overshadowed by The Sixth Sense. As unfortunate as that is, now is a great time to pick up this spine-tingler and enjoy a spooky good time.

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3.5 stars

The solo debut of The Strokes‘ rhythm guitarist, Albert Hammond, Jr., is a success. Yours To Keep is kind of like a throwback pop record in that the lyrical content mostly consists of love and sex, it has sunshiny melodies, and it’s simple rock music. Of course, it’s not considered pop music by today’s standards largely because the artist plays an instrument and writes the songs.

The intro to the first song, “Cartoon Music for Superheroes,” makes it hard to believe you’re not listening to a Beach Boys record. The majority of songs, however, including the second track, “In Transit,” are soaked with a Strokes vibe. Hammond’s voice reminds me of John Lennon‘s voice, especially on “Blue Skies.” That’s about where the comparison ends, though. Lennon’s son Sean actually sings backup on two songs. The Strokes’ singer, Julian Casablancas, sings backup with Sean Lennon on “Scared.” Like Sean Lennon, Hammond’s father was a musician. Hammond, Sr. was popular in the 1970s. His most famous song is probably “It Never Rains in Southern California.”

Yours To Keep is a fun album and easy to listen to. As one-fifth of The Strokes, the band whose 2001 debut, Is This It, is arguably the most important and influential release of the century so far, Hammond proves he can stand on his own. He does not break any ground or experiment much, although the horns at the end of “Hard To Live in the City” were a cool surprise, but he put together a memorable group of ditties here. Yours To Keep comes out March 6. It was released in the UK late last year, and I got my hands on that. The U.S. release will feature two bonus tracks and the video for “101.”

Scale:
0. Shoot yourself
1. Poor
2. So-So
3. Good
4. Excellent
5. Instant classic

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