Has ‘Rolling Stone’ Lost it’s Edge?

By jcatapano | Published: December 13, 2008

Recently, I signed up for a subscription to the Rolling Stones publication and two out of the last three cover stories I could not care any less about. Even the third received a questionable, ‘meh…’ I’ve always been a casual reader: picking up a copy if I found a couple stories interesting, or borrowing one during a Borders run. But never have I been more disappointed than in the past couple of weeks.

First off, let me say that I’m proud that Britney Spears has accomplished not giving up her life to drugs, drink, sex, and inability to tend to small children. But a cover story on RS? Really? Honestly, who wants to read 5 pages on Britney and her struggle? I guess there are people out there, but have we, as a society, hit that bottom just yet? I like to think not, but maybe that’s just my idealism. Indeed, Ms Spears has had a wild ride (not much unlike Mr Toad) but are we prepared to ignore, say, a cover story on TV on the Radio? They’re gaining popularity, and maybe we should take notice on the front cover and not a 500 word blurb inside.  Let’s be clear, they were recognized by the publication  as the best record of the year, but heaven forbid they get a cover spot.  Instead, we have Britney thrown in our face in order to create the response of, ‘you’ve come a long way, baby.’ Let’s not forget, she’s still the same hick who will be battling with everything from child custody and craziness until she’s 68. RS lacked the ability to take this spin.

Secondly, let’s take a look at this week’s issue. Does anyone really want to see this fucker’s mug anymore? As a beautiful correspondent mentioned to me just the other day, ‘I’m so sick and tired of looking at these two [Brad and Angelina].’ And she’s absolutely right. Yes, adoption, charity work, promoting awareness are all positive actions for one to do. And, if you have the money, you should do it as often as this couple does. The question is, however, do we really need a shit-ton of it in our faces nearly every bloody day?? Ｉdon’t think so. Let’s get real here, folks. The point of working for others is the joy you get from it, not publicity. At least, that’s how it’s SUPPOSED to be!

So, here’s my point. Rolling Stone needs to find cover stories that won’t make me sick and disappointed. If I didn’t have the subscription, I really don’t think I would even touch these issues. A shame, too, because there are some excellent stories inside, but you’ve gotta grab me, RS. Britney and Brad draw me far, far away. Get to know why people read your publication and don’t become a glorified National Enquirer. You’re not nearly there yet, but if you continue down this road, you may be. You’ve been warned.

Rolling Stone Issues 1066 through 1068 Grade: B-

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Quantum of Solace

By jcatapano | Published: November 16, 2008

Directed by: Marc Forster

Written by: Paul Haggis, Neal Purvis, and Robert Wade

Starring: Daniel Craig, Olga Kurylenko, Mathieu Amalric, and Dame Judi Dench

Release: November 14, 2008

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As a child of the Pierce Brosnan’s James Bond films, I was extremely apprehensive of Daniel Craig taking over the role.  Surely Brosnan is not, I believe by anyone’s standards, the best of the actors in this classic line of cinema but at first it’s all about which Bond you remember being ‘the’ James Bond.  By the end, you make an informed decision and mine has always been Mr Connery.  But that is neither here nor there.  The newest two Bond films have gone in a very different direction than all of the previous.  Craig portrays agent 007 as an off-the-cuff character with rage and a twist of insanity (not included, necessarily, in his martini).  I enjoyed Casino Royale, but it has been nearly two years to the day since it opened and I have forgotten most of the plot points, which proved to be problematic.  If you’re planning to go see this film, I would seriously recommend rewatching its chronological predecessor.  Your problems will otherwise entail being incredibly confused throughout the first thirty minutes.  References are made, characters are discussed, it’s a real problem.  This is my major writing and directorial issue.  Give the audience credit, but please throw us a flashback or perhaps clearer references than, ‘Jackie was a good bloke… I miss him.’  Is it possible they’re asking us to go rent or purchase Casino Royale afterward only to purchase a second ticket to make the connections?  I doubt it, but it’d be a hell of a marketing ploy.

After the initial attempts of trying to remember what happened in the previous story line, the film became more interested in itself and, therefore, more enjoyable.  Craig is almost as cold-blooded as his villainous counterpart.  He seems to be obsessed with not screwing up like he did in Royale.  What Haggis et al do with this Bond is create a character who is morally ambiguous.  For one of the first times I wondered whether or not I should really like this guy.  You know he’s end is righteous, but the means are sometimes hard to swallow.  It only becomes more problematic once we see the theme of betrayal dominating and creating more questions of reason and morality.

Amalric, Quantum’s villain, plays an excellent sniveling Frenchman looking to dominate an essential Bolivian resource.  Indeed, he isn’t as chaotic evil as, say, Dr No or Mr Big but he still retains that world dominance addiction albeit on a smaller scale.  And he has the charming characteristic of throwing anyone and everyone who’s expendable in his operation under the bus.  The nihilistic evil-doer is alive and well in this piece.

I would certainly recommend seeing this film, but don’t expect anything spectacular.  Do expect a few interesting fight scenes that aren’t terribly well shot and are mostly in Borne Identity vein, some fun explosions and special effects, a few good jokes, and a very well performing cast.  I won’t say ‘don’t waste a moment,’ but if you have the opportunity, go check it out.

Rating: B+

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W.

By jcatapano | Published: November 9, 2008

Directed by: Oliver Stone

Written by: Stanley Weiser

Starring: Josh Brolin, James Cromwell, Richard Dreyfuss, and Thandie Newton

Release: October 17, 2008

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Oliver Stone is well known for his strange, off-color presidential biographies.  The best way to prepare you for this debut of W. is likely to watch Nixon, which is probably the most sympathetic biography of a corrupt son-of-a-bitch I know of.  With that said, W. is probably going to disappoint a large crowd of people looking for some scathing commentary on evil, dim lighting, plotting, and eating small African children.  For you, Stone does not deliver.

The story begins and ends with Brolin as our president in Rangers Ballpark listening to an empty stadium roaring with cheering fans.  The symbolism, of course, is acceptance and notoriety.  What Stone does so brilliantly is paint the story of a man who constantly was living in his father’s shadow.  Like George W. or not, you have to admire his story.  Breaking away from a life of failure, booze, and drugs is truly an American story.  Of course, what is lightly glazed over is the fact that ‘Junior’ had an awful lot of help from his father from getting out of jail to getting into Harvard business school.  There is much more emphases on W.’s perseverance in overcoming adversity, but it is not by any means a stretch.

I think the biggest complaint about this film will be that people honestly were looking for a den of scary, evil people plotting the demise of the greater Western world.  Instead, what Stone shows is a man driven by his own determination to do what he believes is right.  Plus, there is very little mention of puppetry and none by Dick Cheney.  In my personal opinion, I think it was a necessary angle.  The problem with many people’s views on this Bush presidency is that they truly believe he is an idiot and everyone around him are criminal masterminds just sneaking by the judicial system throwing down their gavel of truth and righteousness.  What Stone does instead is depicts a real guy out there to make things right by his own standards.  Now, you or I may not agree with those standards or those beliefs and we may even think it’s the worst possible thing for this country, by the Bush team is not evil.  And I think that is what Stone is attempting to convey and, I believe, he does it extremely well.

Rating: B

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How to Lose Friends and Alienate People

By jcatapano | Published: October 5, 2008

Directed by: Robert B. Weide

Written by: Peter Straughan [Adapted for film based on the book by Toby Young]

Starring: Simon Pegg, Kirsten Dunst, Jeff Bridges, and Megan Fox

Release: October 3, 2008

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Robert Weide you may know from his directions of many episodes of Curb Your Enthusiasm.  Though not one of my favorite comedy shows, it’s worth noting his experience in the field.  His film is one that will likely satisfy your expectations.  As long as you don’t go in looking for previous over-the-top Simon Pegg films such as ‘Shaun of the Dead’ or ‘Hot Fuzz,’ you’ll be pleased.  As a fan of Pegg’s work, I enjoyed his comedic performance.  He plays an underground London journalist given the chance of a lifetime to work for a big shot magazine head in the States [Jeff Bridges] who sees his own youth and hopefulness in Pegg.  A myriad of conflicts arise for his character from dealing with the radically different American movie stars to wanting to continue his own ‘hard-hitting facts’ journalistic style.

The movie opens at an awards ceremony where Pegg is at a table with Megan Fox’s character.  She plays an excruciatingly dense actress bent on movie stardom and little else.  As a sidenote, I am not at all a fan of her most recent plastic surgery.  When she came on film I barely recognized her and, frankly, didn’t like what I saw.  Moving right along, Pegg goes on to explain how his life ‘didn’t used to be like this.’  From there, we watch the series of events that lead his character to an Armani tuxedo with a beautiful actress.  It’s a classic tale of wondering whether to stay true to yourself or do the what needs doing in order to climb your way to the top.  The underlying storyline includes both Fox and Dunst.  Pegg needs to decide whether he wants the cheap thrill or the meaningful relationship.  The other plot points I will not spoil for you, but the road blocks are many.

There are plenty of laughs to make Pegg’s character enjoyable and his story even more fun to see what is around the next corner.  Again, this movie is not by any means Oscar worthy, but it’s worth a good chuckle.  Besides, what’s funnier than an out of place Brit in the throws of New York City living?  I can think of few.  For the most part, Pegg steals the show.  His comedic delivery parallels many contemporary British comics, which I can never get enough of.  Once again, I think this is a rental.  Not necessarily worth spending the money in the theater unless you want to go with a bunch of your friends and have a good time.  Otherwise, save this for Netflix.

Rating: C+

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Acid Tongue

By jcatapano | Published: October 3, 2008

Artist: Jenny Lewis

Genre: Alternative

Label: Warner Bros. Records

Release: September 23, 2008

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Among the feminine swath of 20 to 30-somethings trying to make a record deal, Jenny Lewis stands alone.  Surely, your Sara Barielles has a distinctive voice apart from your Feist, but what this musical generation is seeing are far too many arrows at the same target.  Lewis provides variety for the listeners searching for something apart from female singer/piano player X.

Acid Tongue runs more like a genre sampler if nothing else.  From chord progressions of late-era Beatles to the soulful sounds of a Keys record (Keys and generic contemporary female singers not mutually exclusive).  The voice of Lewis in her first track “Black Sand” is almost indistinguishable from “The Next Messiah, which is only two tracks following.  She’s malleable, and I don’t think you find much of that among the other female singers of her ilk.  The differences with these tracks are where the move from silent, reserved guitar strumming moves to a hard-rock southern feel for the first time.  “Is this the same record?  Do I have my iPod on shuffle?  Who is this now?”  No indeed, we are still listening to Jenny Lewis.  She throws us off with her progressions from track to track and always keeps her audience wondering what the next three minutes will hold.  “The Next Messiah,” probably the most exploratory tune on the record, illustrates Lewis’ melodic voice along with her breathy, sultry sound.  Not only that, but she introduces the male singer Jonathan Rice who provides an interesting take on this southern rock run around. As with most other contemporary female singers, you don’t hear anyone else other than the artist herself with maybe a backup singer or two.  Allowing Rice to throw his voice on the cut for more than two lines is something I certainly don’t hear very often.  For the best example of this, go no further than “Carpetbaggers” where Lewis sings lines with the inexorable Elvis Costello who, of course, sings lines of his own.

Her implementation of backup choral singers along with strings in her songs gives the record more flexibility and intensity.  As noted earlier, I see a lot of the 1970s Beatles in this record as evident in my previous statement.  The title track, “Acid Tongue,” stays in this throwback era feel.  What we hear are the sounds of Janis Joplin without all the whiskey and cigarettes.  Perhaps Joplin would’ve been overlooked if this were her sound, but it’s different.  I think that’s what Lewis is going for here.  Something old with the spices of something new giving music the distinct flavors many are looking for. Paying homage, whether intentional or not, is always a good idea.

Take a ride with Jenny Lewis on her 2008 release.  You’ll be pleasantly surprised after each track hits you.  Unless, of course, all of the above has made you say, “Beatles?  Feist?  Joplin?  BLECH.”  In that case, stay far, far away.  Also, consider therapy.

Rating: A-

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Burn After Reading

By jcatapano | Published: September 29, 2008

Written and Directed: Ethan and Joel Cohen

Starring: John Malkovich, Frances McDormand, Brad Pitt, George Clooney, and Tilda Swinton

Release: September 12, 2008

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From the previews I saw in either the theatre or on television, I was extremely excited to see this film.  Visually and comically it grabbed me, and the cast list alone should have powered the pistons in my (or my friend’s) car to the box office.  As a rule, I try not to read many reviews before I go to see a new film, but I did take a look at the Onion’s A.V. Club review, which is usually a good indicator for me because for the most part I’m more forgiving than the writers there.  In this case, I am not.

The Coen brothers are well-known for their comic violence, excellent direction, and any actor would sign on with them likely without even looking at a script.  This very well may have been what the lot in Burn After Reading did.  I am a huge fan of Ms McDermond and a moderate fan of Mr Clooney.  Both cinema giants lost big time trying to carry this lead balloon.  McDermond went through every moment of her on screen appearance racking up the amount of ridiculous face contortions she could muster up.  She certainly wasn’t the amusing Northern Territory cop I so well remember from Fargo.  She became, for lack of a better term, a one-(white)woman minstrel show.  Clooney executed the neurotic ex-Marshall quite well, but failed to expand beyond that.  Perhaps this was the brothers Coen’s point, but it failed to speak to the viewer.

There was not, in my opinion, one single major character to identify with.  The zany, idiotic Pitt character is frustrating; Malkovich is a broken, maniacal man who I lost hope for in the first five minutes of his performance; McDermond’s character along with Clooney’s is despicable; and we’re left with a myriad of misfits who can’t find their place in normal society, hell-bent on their own personal gain.  This fits all but one: Richard Jenkins as a frustrated, powerless fitness club manager.  Unfortunately, we don’t get to know much about him and he winds up being a lost cause by the credit roll anyway.  I felt extremely disconnected from what occurred throughout the film and was left wondering, ‘Why is this all going on in the first place?’

Precisely that question is what received the most amount of laughs at the theatre.  J.K. Simmons plays the CIA supervisor who is cut to at awkward times to simply run the long forgotten ’show so far’ bit of Monty Python fame.  His part in this clusterfuck of a script was to say, ‘All right, so what’s going on?  I don’t get it.’  Indeed, the absurdity of the plot is what is funny, but it doesn’t save this disconnected film.

Indeed, the Coen brothers have dropped the ball on this one.  However, rent it on a rainy day, you’ll get a couple belly-laughs.  You have to see it just to say you’ve seen the latest Coen brothers’ flick, but please don’t spend $11.50 to see this disappointment.

Rating: D-

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