The Imaginarium of Doctor Parnassus

Terry Gilliam's films are always beautiful to watch. The special effects, the imagination, the fun of each film is always something exciting. Many times, Gilliam's films don't quite reach above the spectacle and tend to fall a little flat. I feel this is mostly true for The Imaginarium of Doctor Parnassus. Much of what we are watching is enough to keep us entertained, but the plot falls a little short.

While watching the film I wondered how much of Ledger's death caused a change to the film. Were there plans for a different end? A twist? Or, was Gilliam able to keep to his script with the help of Farrell, Depp, and Law? I'm sure I could do a little research to find out the answer, but I haven't done so yet. The climax of the film really seems to fall in on itself. Much of it a little too over the top, silly, and unnecessary. There could have been better ways to deal with the issues at hand.

Christopher Plummer is the highlight of the film. Every scene he is in is a hundred times better than any other scene in the film. And this is where the film is stronger than the average Gilliam film. Instead of image being the best part of the film, the acting of Plummer takes over. Also, Tom Waits as the devil is a perfect idea. Waits is fantastic as the smart assed, gambling man's satan. In fact, everyone in the film puts on a great performance.

The film isn't going to be the film to live on for many years. It isn't filled with anything new. There is no reason to spend a whole lot of time with this film. But, for a first viewing, it is a lot of fun. The type of film you see, enjoy, and tell others to watch.

B-

In Other Rooms Other Wonders, Daniyal Mueenuddin

What an incredible collection of short stories. I rarely read short stories because they are time consuming. The attention to detail is so important that I am often worn out by the end of twenty or so pages. Joy Williams and Jhumpa Lahiri are my two favorite contemporary short story writers. I think it is time I add Mueenuddin to my list.

In Other Rooms... is his first collection of stories. The similarity to Lahiri is very evident. The stories are told very gently. With ease and care. The amount of life in each sentence is overwhelming. The strongest (and my favorite) story in the collection is 'Our Lady of Paris.' I feel this story is heavily autobiographic for the author. The male lead character has a similar background to the author. Also, the story is the closest to Lahiri's writing. Mostly, the similarity to The Namesake.

Many reviews compare to Mueenuddin's stories to Russian short stories (Chekhov, Turgenov). Why I am not too familiar with many of Chekhov's short stories, I am familiar with Turgenov (having read the collection Fathers and Sons while at college). I would agree with these statements because of the darkness of each story. There is certainly a lot of realism in the lives of the characters.

The most obvious comparison of these tales would be to fables. A handful of the stories read like moral lessons. They aren't as over the top or silly as a typical fable. The elements at play are still dark, real, and honest. The people are not necessarily learning, but the reader certainly is.

A

Solar, Ian McEwan

Upon opening McEwan’s newest novel I first checked out the list of other titles by the author. I was shocked to see I have read McEwan’s last five novels (having read a total of six of his novels). I have never listed McEwan as a favorite author or put much thought into him as being on a top ten list of favorite contemporary writers. I have no reason for this. As I have enjoyed all six of the books I have read. And, I find Saturday (his last prior to Solar) to be his best, strongest novel of them all.

This gave me hope for Solar. Having realized my respect for McEwan as a writer and having enjoyed his last so thoroughly (Saturday being the only novel I have read in one sitting since college), I assumed Solar was going to be a very enjoyable experience. Solar is a quick read. McEwan’s prose is still strong. But, all of the pieces of a McEwan novel aren’t quite working in the same way. Maybe I shouldn’t fault an author for kind of trying something new. The pieces for a McEwan plot are all present, but they’re scattered about and not considered too terribly important this time around.

The main character, Beard, is a disgusting creation. He cheats, drinks, lies, etc. Everything about the character is stereotyped. Over the top. It isn’t new for a McEwan character to be unappealing. In fact, many of his creations are unappealing. But, he manages to make us feel sorry for these people. McEwan can pull us into their world and create a little bit of pity. This time around, I felt nothing but annoyance at the main character. By the time Beard’s world crumbles around him I was more than pleased to see he was becoming a fallen man.

I appreciate McEwan’s dark humor. The attempt at creating something a little bit different from previous works. But, the plot feels forced. The climax rushed. In fact, the climax seems sloppy- too quickly appearing from out of nowhere (even though it is clear from the start where everything is heading). I am not put off enough to say I will not anticipate the next McEwan novel. But, Solar certainly wasn’t worth the wait.

C-

Together, New Pornographers

Can a band become lost under the identity they created for themselves? The New Pornographers are always who they have claimed to be. A powerful group of voices. All with outstanding solo careers. And, somehow able to manage time for a super group. Could the New Pornographers be the boy band of indie rock? A hipster version of N Sync?

All the pieces of a New Porno album are at play in Together. Everyone sings, plays, and sounds exactly as you expect. Their personalities don't so much blend together as well as their voices do. You can tell the difference from track to track between who is in charge. The one member who stands out the most is always Dan Bejar. His voice, his lyrics, his style... some experimental abstract version of a pop song. In fact, even though Bejar doesn't quite fit with the rest of the band, he is still my favorite.

There isn't a single song on the album that really stands out. In fact, other than songs from Twin Cinema, I have always found the music of New Pornographers to live in a realm of slightly above background music. Their sound is lively pop. A sense of Beach Boys-Mama and the Papas-Beatles classic bubblegum pop.

Together is certainly better than Challenges, their previous album. Challenges was slow, boring, ballad filled. So, Together is certainly a welcome return to a sound with a tad bit more edge. I would never call the New Pornographers a bad band. Or a boring band. Or a mediocre band. They certainly are filled with talent. But, sometimes all that talent disguises the art.

C+

Forgiveness Rock Record, Broken Social Scene

It is hard for me to write a review of Broken Social Scene. The band, and their albums, have represented a very rough time in my life. I discovered them during a very removed stage in my life. And, they’ve always been there when I begin to feel that way again. The band is the closest thing to existential music I have been able to find.

Broken Social Scene represents a generation. A lost, fucked up, disorganized generation of peoples just trying to get their shit together enough to be presentable. Their songs express this and the band members live this. Their first album, FeelGoodLost, is an instrumental meditation. The second album, You Forgot It In People, is the existential manifesto. The third album, Broken Social Scene, is a disorganized dream of everything.

The fourth album, their newest album, is Forgiveness Rock Record. Has the band actually pulled their shit together? Are they just putting on the show we all put on? And, why do they feel the need to do this? The hardest part for me in reviewing the band, and the new album, is that I have high standards for them and I can’t be too hard on them.

But, somehow they got a little too far away from the original plan. The album is mostly made up of hopeful meditations. Beautiful lyrics. Lovely vocals. Music that lacks the Dada-ist movements of earlier work. They’ve turned into adults. They’ve found the answers. They’re no longer feeling good lost. And now I am the one even more lost.

The album highlight is ‘Forced to Love.’ The only song on the album that really seems to remember the ache of the lost cause love affair.

B-

Brothers, The Black Keys

The Black Keys may best represent aging more than any other musical act currently working. The energy and creativity of their first albums, thickfreakness and The Big Come Up, is certainly a thing of the past. The climax of their career is found in the almost perfect Rubber Factory album. Every song a blues heavy dirty rock anthem. They mellowed out a bit with the underrated Magic Potion (my 2nd favorite album by the band) and their covers album Chulahoma (an album I hoped would have been a sign of what was to come, but ended up being a brief side track for the band). Finally, we saw the band have a mid-life crisis with the release of a blues/rap album under the moniker Blacroc (and, despite a few great songs, the album is unnecessary). And, lastly, Attack and Release (an album only a faux-fan can really love). Attack and Release is the album your mother wouldn't mind listening to. Adult contemporary blues rock in a John Mayer vein. Sad.

Luckily, Brothers shows not everyone is dead in their old age. There may be some bumps along the road, but the past is still alive in the sound of this new album. The album is more along the lines of the Magic Potion. A mellowed out blues rock jam fest. The lyrics are cleaner and their vocals are a bit dirtier. There is a "swamp blues" feel to a lot of the songs. Even a lot of soul taking place throughout the album. Clearly the band is tweaking a new and improved sound. I give them credit for their work.

The albums strongest tracks are "Too Afraid To Love You" (a slow blues ballad), "Ten Cent Pistol" (reminescent of great classic rock), and "Sinister Kid" (the much livelier sibling of Attack and Releases horrid "Psychotic Girl"). "Howlin For You" is the albums worst song. The music sounds as if it samples Queen's "We Will Rock You." A mix of late 70's static fuzz and below average lyrics. The album closer "These Days" sounds like a track left off of Dan Auerbach's ballad filled folk blues Keep It Hid, but still very beautiful and a lovely final addition.

The band has aged. The music has mellowed. Anyone looking for the enthusiam of their earlier releases needs to stay far away from this album. But, anyone open to hearing a band dedicated to a solid record may still be interested in the efforts.

C+

Crystal Castles (II), Crystal Castles

BEST OF 2010

If images are meant to mean anything... I was left to interpret the new Crystal Castles cover as a symbol for death. Perhaps, death of their old sound? And, the album is named the same as their first, Crystal Castles. Another way of saying 'we are starting over?' Or, just a shout out to Led Zeppelin?

Turns out Crystal Castles did not mean for any of what I interpreted to be true. The sound is still similar. The music still incredibly filled. The sound is less raw. The sudden shouts and frantic clatter of the first album is folded into a more produced and thicker sound. This is a not a bad thing.

The new album is most successful during songs four through six. 'Baptism' has a slow start beat that just drives through until the strong end. 'Year of Silence' samples a Sigur Ros song. The sample is thread through other sounds. A strange decoupage of sounds in the way only Crystal Castles can do successfully. And, finally, 'Empathy,' the best track on the album.

I can't imagine anyone finding fault in the new album or the slightly cleaned up sounds of this duo. They are still creating something very specifically their own without replicating what they've already done. This is no easy task these days.

A-