Tag Archives: Spinal Tap

Award Weekend Redux

The Hurt Locker. And James Cameron was shoved into it.

Lame. Tame. And almost predictable

That’s the story of Award Weekend, where despite the stellar comedic talents of Eddie Izzard, Steve Martin and Alec Baldwin, jokes fell flatter than a pancake. Or in other words, as tired as that analogy. No, this isn’t sour grapes because I only went 6-for-10 on my predictions (more on that later) but it’s a little sad when the biggest event of the film year isn’t…well, big

First, the 82nd Annual Academy Awards 

I watched the show with my daughter; she Tweeted while I scribbled notes on the back of a nominee ballot. From her laughter, it seemed like the jokes on Twitter were funnier than the ones on the telecast. 

At the end of the show I used the power of my mind to read James Cameron‘s thoughts… “I wonder how drunk I can get for two billion dollars?” (Which at least will clear his mind of his prior thought – “Why did I dump Kathryn Bigelow to hook up with Skeletor?“) 

I start to wonder whether the Oscar crew does know who’s going to win when I see them do things like have Barbara Streisand present the Best Director Award; how ironic that she didn’t win for Yentl, yet gets to be part of the breakthrough moment. (How uncomfortable a comment would she have dared utter if Bigelow lost? And if Lee Daniels had won…would Spike Lee be pissed that he was snubbed for that sweet presenter slot?) When Streisand tried to milk the moment by stating “the time has come“, poor Daniels looked like Stephen Boyd during the climactic scene from The Oscar.

Oops...

Mo’Nique gave an awesome performance and deservedly took home the award (why are people still shocked that stand-up comics can be great dramatic actors?) and I appreciate that she wore a blue dress and flower in her hair to match Hattie McDaniel. But when the speeches started flowing about following in Hattie’s footsteps and how after so many years it was time, I so wanted to slip her a note to remind her that Halle Berry already cashed that chip several years ago

How ironic that Chris Pine had to introduce a groundbreaking science fiction film, when Star Trek wasn’t even nominated after the category was expanded to ten movies? 

After watching the music from Crazy Heart win so many awards, I realize just how much better it would if Steven Bruton was still around. 

Did Robert Downey Jr. actually pronounce the word specificity? Proof positive that his rehab problems are behind him. Finally a moment of humor as he and Tina Fey exchanged writer/actor barbs, but he won by calling writers “sickly little mole people” (a line, of course,  that has Tina Fey’s hand print all over it). 

Nice John Hughes tribute until Judd Nelson creeped me out visually with his almost-Downey look. Molly Ringwald would have scared me worse, but she was brought out previously, and slower. 

Not to kick a dog when it’s down, but how does a move that is about eighty percent animated win for Best Cinematography? Just sayin’. 

Ever want to run to see a movie two seconds into the trailer? Must, must, must go see Logorama ASAP. And how funny was Nicolas Schmerkin‘s acceptance speech thanking his “three thousand unofficial sponsors” and saying “no logos were harmed in the making of this film”? Then closes with a knockout punch: “It took, like, six years to make this sixteen minutes, so I hope to come back here with a long feature film, in about…thirty-six years.”  So a Frenchman with a thick accent not only has better comic timing than our hosts – but better writers, too? 

And why was Kanye West dressed up like a fat drunk woman in a bad Snuggie when he interrupted poor Roger Ross Wilson‘s acceptance speech for Best Documentary Short? (Yes, I know it wasn’t Kanye, but to mention the real name of that boorish cow would only extend her Warholian fifteen minutes. I’m hoping that the Japanese fishermen from The Cove watched the exchange, mistook her for a dolphin, and fileted the bitch backstage.) 

Better hosts would have jumped on that horribly rude moment and ridden it like a pony for the rest of the night. Billy Crystal would, and I know that Ricky Gervais would have had a field day. Are you telling me no one in that stable of writers could come up with a smack-down? Maybe they should have been tweeting for help

Ben Stiller needs to be involved in every awards show. And while James Cameron seemed to be grimacing like Stiller somehow didn’t have the Na’Vi language down perfectly, he should at least have appreciated Stiller’s close: “After I announce the winner I will stand as far away as possible so I don’t demean their moment of triumph“. (Seriously – how could Avatar not be nominated for Best Makeup? Hollywood really hates someone.) 

Star Trek won more Oscars than Avatar last night. Ouch

Was it me, or did the ceremony at the Governor’s Ball featuring Lauren Bacall and Roger Corman look like waaaay more fun that the main ceremony? The jokes were funnier and the tributes more sincere. 

Robin Williams, check. Testicle joke, check

Rude moment number two – The Costume Bitch starting off her acceptance speech by saying “I already have two of these” and then somehow getting more derogatory from there. Last. Nomination. Ever. 

My first thought upon seeing Taylor Lautner and Kristen Stewart come out to introduce the tribute to horror films: “Bite each other and die“. No montage is ever going to be perfect, but there were many startling omissions and a few (Edward Scissorhands??) that were head-shakingly out of place. Not to mention that the promo for Happy Town that aired during the commercial break looked scarier than anything in that clip reel. 

Sound Editing – any time we get to see more of The Dark Knight is OK by me. Tell me again how that movie did not even get nominated for Best Picture

In Memorium: I love James Taylor, but this is a tribute that deserves silence or a best a subtle orchestral score. Especially when you sing lyrics like “some are dead and some are living” as the montage of clips slides by. (What does James know that we don’t?) 

Late in the show I’m wondering whether Alec Baldwin is offstage yelling at his daughter’s voicemail, because it sure seemed like Steve Martin was soloing for almost an hour. 

Unfortunately for the producers, one of the highlights of the evening was shown during the commercial break. 

I finally aligned with the world of Twitter when I let out an audible “WTF?” when Dancing With No Stars came out to misinterpret the Best Score nominees. According to daughter Eli, that was the white-hot Tweet of the moment. (For the record, the biggest score in Oscar history was Adrien Brody bending Halle Berry over for a deep dive smooch at the 2003 ceremony.) 

More proof the writers don’t know a good joke, nor did audience: When El Secreto de sus Ojos won for Best Foreign Film, the producer opened with this gem: “”I want to thank the Academy for not considering Na’Vi a foreign language“. Dead silence. Come on, people! 

I get it, Sean Penn. You’re a rebel. Yawn

Best Actor and Best Actress gimmick: hate, hate, hate the one-on-one tributes to the nominees. Besides the fact that the show is already dreadfully long and the back story for each nominee has been rehashed a thousand times, what does the fact that this actor is a humanitarian or this actress is a good mother have to do with their performance? Or are you finally admitting, Hollywood, that it is about politics and favoritism rather than the best performance of the year? At least it produced a couple of good lines, thanks to Stanley Tucci and Tim Robbins (“It is Ted, isn’t it?“). 

No big shock on the four major acting awards. Jeff Bridges (has it really been almost forty years since his nomination for The Last Picture Show?) proved once again that The Dude abides. Sandra Bullock disappointed me by not getting all Sally Field on us and Christoph Waltz finally made an acceptance speech I could understand (his prior speeches sounded more like ideas for future Quentin Tarantino movies). 

I was surprised that Hollywood was able to ignore a movie that has already grossed two and a half billion dollars (and still selling) in favor of a movie that struggled to get financing, distribution and promotion and tackled a controversial subject. But I couldn’t be happier for director Kathryn Bigelow and writer Mark Boal

Spirits? Many were served.

The less said about Friday’s 25th Annual Independent Spirit Awards, the better. Maybe it was the decision to move the event from a beach tent to…well, a tent in a parking lot. Maybe the booze started flowing earlier. But when Eddie Izzard bombs so badly that he has to start improvising with props and free-stlying in the audience to wake up the seated corpses, that’s a sad day for what used to be the most lively and raucous awards of them all. 

Then again, Izzard refused to let his “God is Dead” joke die, insisting on reviving it every time he came back on stage if for nothing else than to punish the audience. There were very few funny moments, but thankfully Will Arnett and Ed Helms saved the day when presenting the John Cassavetes Award, as did Ben Stiller’s speech and the clip reel of Roger Ebert viciously panning movies. (I was thrilled to see that Ebert was present for the event, as was the crowd that gave him an extended standing ovation.) 

Sorry, but Laura Dern being one of the original fourteen people present when the Independent Spirit Awards was founded makes me feel really old. If it was Bruce Dern, maybe I’d feel better. 

As for the winners, it was a big night for Precious. I’m sorry…I meant to say Precious Based On The Novel Push By Sapphire©®™ 

(Someone should tell the producers that every movie is based on something, which is why we have Original and Adapted screenplay nominations, but I guess that wasn’t good enough for the author. Or would that have screwed up the tie-in to Oprah’s Book Club?) 

Lynn Shelton wins for Humpday. Yes


And I was thrilled that Anvil won for Best Documentary, and anyone who has seen that movie – a real, live Spinal Tap – had to be moved when stunned band member Steve “Lips” Kudlow came back onstage and hugged the filmmaker, thanking him for changing his life. I still cannot believe that Anvil was not even nominated for the Best Documentary Oscar. 

And now it starts all over again! 

2 Comments

Filed under Editorials, Film/TV, Reviews

New Album! The Alternate Routes

Actually, more like a sure thing

Actually, more like a sure thing

I first came across The Alternate Routes through their song “Ordinary”, which immediately blew me away and remained one of my favories for that year. I put it on a year-end mixtape (mixdisc?) and it was one of the songs that drew the most comments. And a group of old friends who have a band liked it so much they learned it and added it to their set list. I felt like I stumbled upon a hidden treasure.

Not counting self-released versions of Good And Reckless And True (their debut on Vanguard) and EPs, A Sucker’s Dream is just their second album, and the maturity in both songcraft and performance is already rock solid. Whether acoustic or electric, their material is consistently melodic, infectious and well structured. Lyrically, there are easily identifiable themes like overcoming adversity or coming to terms with yourself in the big picture, and they’re as effective with atmospheric mid-tempo songs like “November” and “Never Gonna Be Rich” as they are with flat-out rockers like (the ironically titled) “On And On We Whisper”. And although a guest spot by Patti Griffin is a nice coup, Tim Warren doesn’t need to take a backseat to anyone as a vocalist.

Guitar play between Eric Donnelly and Mike Sembos always fills the space in a cohesive and interesting manner, with Chip Johnson and studio drummer Giles Reeves able to support or propel as appropriate. A quick peek at their Wiki site makes it look like they go through drummers faster than Spinal Tap – Mike Stavitz is pounding the skins at the moment – but this is obviously a tight-knit crew who gel both onstage and on record.

I recently saw the band play as an opening act, and they totally won the crowd over by the third song. When I first hit the club, the band was in the process of getting the right levels on a toolbox (!) which is featured as a prominent percussion item on “The Future’s Nothing New”. Of course, that ate up their warm up time, so when they took the stage for real they introduced the rambunctious opening number “Toe The Line” as “a little song we call ‘Soundcheck’…” They played a tight, energetic set, were funny as hell and were sincerely appreciative of the crowd. They left town with a boatload of new converts, and I can’t imagine that’s not happening elsewhere.

Bands with a similar sound have clicked before. Maroon 5′ blew up with a combination of solid songwriting and Adam Levine’s vocals, but these songs are solid and Tim Warren is a better singer, more expressive yet without the stage antics. Do you miss Train or The Gin Blossoms? Well, if either band released something as consistent as A Sucker’s Dream they’d be buzzed about as thoroughly as they were in their heyday. These guys are one of rock’s best-kept secrets, and for their sake I hope that changes immediately.

Trust me on this one – The Alternate Routes are a very good band that’s still growing, and this album that will surface again when I’m making my year-end lists of best music.

The Alternate Routes on MySpace.

Video for “The Future’s Nothing New”

“All That I See”, live on World Cafe.

Fan video for “Ordinary” – the song that hooked me.

2 Comments

Filed under Music, Reviews

T.G.I.F. – Ten Music Flicks

After writing about The Boat That Rocked the other day, I thought about other music-related movies that I really enjoyed and found that I had several favorites that I could watch over and over again and enjoy almost as much as the first time. These aren’t concert films – those are obvious repeat performers – but movies about pop music. I’m also focusing on the more modern era (forgive me, Sal Mineo). Plus the movie has to be good (sorry, Tommy) . A few are obvious commercial favorites (is there anyone who doesn’t quote Spinal Tap?) but a couple of these must be off the path; I find most people have never heard of them, let alone seen them.

But hey, that’s a large part of why I do this, to share information about what knocks me out and hopefully expose people to a great band, film or book they might have missed. I highly recommend every single one of these, and hopefully there’s at least one you haven’t seen that you will take a chance on. Enjoy some great movies with great music, whether it’s a library rental, a used copy on Amazon or circling the listing in TV Guide when you see it. Without further ado (you’ve had just the right amount of ado so far, right?) and with apologies to The Committments and The Rutles, here they are in alphabetical order…

Almost Famous : Cameron Crowe drew upon his own story to craft this brilliant peek behind rock’s curtain, from the groupies (sorry…Band-Aids) to the roadies and the madness that is rock’n’roll. Great music and wonderful performances from the leads and Philip Seymour Hoffman’s great turn as Lester Bangs.

A Hard Day’s Night : The Beatles. Need I say more? “I’m a Mocker”

Hedwig and the Angry Inch : Absolutely the best rock opera ever. John Cameron Mitchell’s brilliant performance and Stephen Trask’s music are a perfect match, and both the musical and the movie soundtracks could stand on their own as great music. But the film is phenomenal.

The Idolmaker : Ray Sharkey should have won the Academy Award for his performance as a teen idol Svengali. Great performances from Paul Land, Joe Pantoliano and Peter Gallagher.

A Mighty Wind : The Spinal Tap of folk music and another perfect movie from Christopher Guest. Tremendous performances from everyone, but Eugene Levy and Catherine O’Hara as “Mitch and Mickey” were brilliant. How did this song not win the Academy Award?

Rock and Roll High School : The Ramones. Need I say more? “Things sure have changed since I got kicked out of high school”.

Spinal Tap : Absolutely hilarious, with pitch perfect performances from the three leads and an amazing array of bit parts and cameo roles, like Paul Shaffer as Artie Fufkin and Bruno Kirby as the Sinatra-loving limo driver (the extended deleted scenes are priceless). Here’s a song so good I like it even though it’s parody.

Still Crazy : I think the common thread in all these movies is perfect casting. Bill Nighy is wonderful as the fragile lead singer and you can’t go wrong with comic geniuses Billy Connolly and Timothy Spall. But the story is as heartwarming as it is funny and the music is phenomenal.

That Thing You Do : Tom Hanks nailed the screenplay about a one-hit-wonder band and even wrote many of the songs that the other acts in the “galaxy of stars” performed. The main songs benefitted from pop wizards like Adam Schlesinger (Fountains of Wayne) and Mike Viola, but the perfect casting was only exceeded by the movie’s heart. One of my favorite films of all time in any genre.

Velvet Goldmine : Glam fans will lap this up – an Eddie and The Cruisers type plot in the world of glitter and decadence, with Ewan McGregor and Jonathan Rhys Meyers as thinly disguised Iggy Pop and David Bowie plus great performances from Christian Bale and Eddie Izzard.

6 Comments

Filed under Editorials, Features and Interviews, Film/TV, Music, Reviews