The film Boyhood is the first must-see movie of the year. Released a bit early for Oscar contention, this modern-day masterpiece is sure to receive an Academy-Award for Best Picture. A revolutionary effort, the film chronicles the life of a young boy named Mason as he goes from childhood to college, all the while experiencing the staple elements of suburban life in the 2000's: divorced parents, lost friendships, and failed romances. It took over a decade to film the movie, and we watch the same actor who plays Mason at the beginning grow into his young adult self by the end of the near-three-hour saga. The other actors also age along with their characters, making for an extraordinary cinematic event.
I would say that Boyhood is easily one of the most remarkable films I have ever seen. What makes it so particularly touching is not only the universality of its theme, but also how it is able to capture landmark moments of the Millennial generation. Like Harry Potter and the Deathly Hallows-Part 2 and Toy Story 3, Boyhood signals the end to the Millennial generation's childhood, yet also reminds us of the fundamental aspects of the 2000's, a decade that shaped who we all are today. The film captures our generation by using pop cultural milestones to invoke feelings of nostalgia and to indicate the astounding passage of time.
While Boyhood never tells the audience what year each time progression takes place in, the music and film references help indicate to us where in the decade we are. Boyhood is riddled with the popular trends and manias that accompanied our own journeys to adulthood. Where the film begins, video games are unsophisticated and played on small devices, computers are bulky, a young girl sings along to Britney Spears, the main character Mason watches Pokemon on T.V., and both kids curl up in bed to listen to their mother read to them Harry Potter. The mid-2000's are ushered in with discussions over General Grievous in Star Wars Episode III: Revenge of the Sith and the continuation of Harry Potter-mania, as kids, all dressed as their favorite characters, line up to buy The Half-Blood Prince. The end of the decade is indicated with the introduction of the iPhone, Lady Gaga, and discussions over social media. In addition to this incorporation of pop culture, the film also includes world events that reflect the uneasy, turbulent politics of the 2000's: 9/11, the War in Afghanistan, the War in Iraq, President Bush, and Obama-mania.
Boyhood is a flawless piece of cinematic work. At no point does the film lose steam. In fact, you want more when it ends. It almost feels unfinished. But intentionally so. It's a massive masterpiece that covers a lot of ground, but still manages to feel contained and intimate. To engage an audience for three hours is a feat on its own; to do so and also provide a moving insight into the life of a fellow Millennial---without ever feeling forced or cliche---is a triumph.
5/5--Masterpiece
Saturday, August 16, 2014
Monday, August 4, 2014
Concert Review: Perry is an Exceptional Entertainer
Many people doubted Perry's ability to last in the industry. The former Christian singer and daughter of two evangelical pastors caused controversy in 2008 with her breakout single "I Kissed a Girl" which reached #1 and earned a Grammy nomination for Best Female Pop Vocal Performance. Critics were divided on the performer. She had earned fame at the tail-end of a decade dominated by more respected pop-stars. To them, she was just a wanna-be. Flash forward a few years, Perry has nine #1 hits, 11 Grammy nominations (including Record of the Year, Album of the Year, and Song of the Year), and in 2011 she became the first artist to tie Michael Jackson's record for most number one hits off of one album. The star least likely to succeed took over the world.
To everyone's surprise, Perry gracefully transformed from pop's most controversial newcomer to the genre's most mature, self-empowering performer. Thanks to hits like "Roar," "Part of Me," "Wide Awake" and her signature song "Firework," Perry and self-empowerment have become synonymous, and the singer once known for her dirty mouth and irreverent lyrics is singing to little kids and teeny-boppers. She went from crowd-surfing at the Warped Tour and screaming "It's my f***ing quinceanera" on MTV latinoamerica to bringing toddlers on stage with her and giving them pizza.
Her Prismatic World Tour is the best medicine to any Perry-doubters. From the minute she stepped on stage at the TD Garden in Boston, she captivated the audience with her humor, talent, and stage presence. She sang, danced, and sweated for two hours, constantly engaging with audience members as she changed from Egyptian clothes to a sunflower dress to a neon, smiley-face skirt. Her hair also changed, going from black to pink to green, and back to black. She sang all the classics---"Teenage Dream," "California Gurls," "Firework"--and impressed with her vocals on beautifully written ballads---"By the Grace of God," "The One That Got Away" and "Thinking of You."
No other star has her versatility. She can bop around the stage to the party anthem "This is How We Do," powerfully belt on the bridge of "Walking on Air," and take out a guitar and play "Thinking of You" as if at a coffeehouse in LA. Perry's voice can at times get lost in the chaos, but when it's just her and the guitar, you hear the raw beauty of it.
Perry is a hard worker. Whether you like her or not, this can't be denied. And this hard work has certainly paid off. She gives it her all on stage, and whether you buy the hype or brush her off, she'll keep doing what she's doing. She is an exceptional entertainer who has far exceeded anyone's expectations and has raised the bar for what a pop-star can do and what a pop-star can mean.
5/5
To everyone's surprise, Perry gracefully transformed from pop's most controversial newcomer to the genre's most mature, self-empowering performer. Thanks to hits like "Roar," "Part of Me," "Wide Awake" and her signature song "Firework," Perry and self-empowerment have become synonymous, and the singer once known for her dirty mouth and irreverent lyrics is singing to little kids and teeny-boppers. She went from crowd-surfing at the Warped Tour and screaming "It's my f***ing quinceanera" on MTV latinoamerica to bringing toddlers on stage with her and giving them pizza.
Her Prismatic World Tour is the best medicine to any Perry-doubters. From the minute she stepped on stage at the TD Garden in Boston, she captivated the audience with her humor, talent, and stage presence. She sang, danced, and sweated for two hours, constantly engaging with audience members as she changed from Egyptian clothes to a sunflower dress to a neon, smiley-face skirt. Her hair also changed, going from black to pink to green, and back to black. She sang all the classics---"Teenage Dream," "California Gurls," "Firework"--and impressed with her vocals on beautifully written ballads---"By the Grace of God," "The One That Got Away" and "Thinking of You."
No other star has her versatility. She can bop around the stage to the party anthem "This is How We Do," powerfully belt on the bridge of "Walking on Air," and take out a guitar and play "Thinking of You" as if at a coffeehouse in LA. Perry's voice can at times get lost in the chaos, but when it's just her and the guitar, you hear the raw beauty of it.
Perry is a hard worker. Whether you like her or not, this can't be denied. And this hard work has certainly paid off. She gives it her all on stage, and whether you buy the hype or brush her off, she'll keep doing what she's doing. She is an exceptional entertainer who has far exceeded anyone's expectations and has raised the bar for what a pop-star can do and what a pop-star can mean.
5/5
Wednesday, July 30, 2014
Mirliani Must-See Movie #3: The Exorcist (1973) dir. William Friedkin
I will always cite The Exorcist as one of my favorite films of all time. Possibly one of the most iconic films ever made, it is often called the most frightening movie you'll ever see. This may or not may be true. But it is hands down the first real horror movie phenomenon (before there was Paranormal Activity or The Conjuring), and the finest supernatural horror film ever made (Rosemary's Baby and The Shining are close though). Members of the previous generation, such as our parents, can tell you where they were they first heard about the film and all the controversy that surrounded it. No other film has such infamy as The Exorcist. It changed the game of horror--and cinema--forever.
Released in 1973, it went on to famously become the first horror film to be nominated for the Academy Award for Best Picture. It receive nine other nominations, including Best Director, Best Leading Actress for Ellen Burstyn, Best Supporting Actor for Jason Miller, and Best Supporting Actress for Linda Blair. Despite its critical and commercial success, it only walked away with two trophies come Oscar night 1974, however it did snag one of the major ones--Best Adapted Screenplay.
Based on the novel by William Peter Blatty (which was in turn inspired by a real-life exorcism), the film takes place in modern day Georgetown where a young movie actress (Burstyn) and her daughter (Blair) have come to live. The mother and daughter are like best friends, giggling about boys and magazines. The closeness of their relationship makes what follows even more terrifying. The girl, Regan, becomes possessed by a demon, and the mother, desperate for help, reaches out to a troubled priest (Miller) for guidance. The film is a deft interplay between the mother's dilemma in trying to find medical help for daughter as well as the inner struggle Miller's character experiences as a man who has lost his faith in God. The supernatural and religious aspects of the film are weighed equally with the more realistic and medical aspects, making it a grandiose yet plausible narrative. Max von Sydow (in heavy make up) plays an elderly priest who has encountered this demon before. The image of him stepping out of the car in front of Regan's house, with the light coming down on him from the window, is one of the most iconic sequences and images in all of film history. You've probably seen it even if you haven't seen the movie.
You can't escape the power of this film, nor its memorable scenes. Who can forget the opening, with the haunting call for prayer juxtaposed with the image of a desolate desert? And who can forget when Max von Sydow stands face to face with a statue of a Persian demon in the middle of Iraq? Who can forget the chilling "Tubular Bells" (which you've also probably heard even if you haven't seen the film)? Or the pea-soup scene (an infamous moment in the film that almost everyone has heard about)? Or the demon's most quotable lines? ("What an excellent day for an exorcism"). My point is, The Exorcist is such a massive film that even those who have not seen it recognize elements of it or have heard stories about it, people's reactions to it, or how it was made. There are few films like it. And few horror films so well-crafted. It is astounding the care the director took to make this film transcend the boundaries of horror and become a true cinematic masterpiece.
So when you see The Conjuring or Insidious or god-forbid The Last Exorcism, remember we are seeing these films now because another, bigger, better, more iconic film paved the way. And if you haven't seen The Exorcist yet, pop some popcorn, turn of all the lights, and prepare to be amazed.
5/5-"Masterpiece"
Released in 1973, it went on to famously become the first horror film to be nominated for the Academy Award for Best Picture. It receive nine other nominations, including Best Director, Best Leading Actress for Ellen Burstyn, Best Supporting Actor for Jason Miller, and Best Supporting Actress for Linda Blair. Despite its critical and commercial success, it only walked away with two trophies come Oscar night 1974, however it did snag one of the major ones--Best Adapted Screenplay.
Based on the novel by William Peter Blatty (which was in turn inspired by a real-life exorcism), the film takes place in modern day Georgetown where a young movie actress (Burstyn) and her daughter (Blair) have come to live. The mother and daughter are like best friends, giggling about boys and magazines. The closeness of their relationship makes what follows even more terrifying. The girl, Regan, becomes possessed by a demon, and the mother, desperate for help, reaches out to a troubled priest (Miller) for guidance. The film is a deft interplay between the mother's dilemma in trying to find medical help for daughter as well as the inner struggle Miller's character experiences as a man who has lost his faith in God. The supernatural and religious aspects of the film are weighed equally with the more realistic and medical aspects, making it a grandiose yet plausible narrative. Max von Sydow (in heavy make up) plays an elderly priest who has encountered this demon before. The image of him stepping out of the car in front of Regan's house, with the light coming down on him from the window, is one of the most iconic sequences and images in all of film history. You've probably seen it even if you haven't seen the movie.
You can't escape the power of this film, nor its memorable scenes. Who can forget the opening, with the haunting call for prayer juxtaposed with the image of a desolate desert? And who can forget when Max von Sydow stands face to face with a statue of a Persian demon in the middle of Iraq? Who can forget the chilling "Tubular Bells" (which you've also probably heard even if you haven't seen the film)? Or the pea-soup scene (an infamous moment in the film that almost everyone has heard about)? Or the demon's most quotable lines? ("What an excellent day for an exorcism"). My point is, The Exorcist is such a massive film that even those who have not seen it recognize elements of it or have heard stories about it, people's reactions to it, or how it was made. There are few films like it. And few horror films so well-crafted. It is astounding the care the director took to make this film transcend the boundaries of horror and become a true cinematic masterpiece.
So when you see The Conjuring or Insidious or god-forbid The Last Exorcism, remember we are seeing these films now because another, bigger, better, more iconic film paved the way. And if you haven't seen The Exorcist yet, pop some popcorn, turn of all the lights, and prepare to be amazed.
5/5-"Masterpiece"
Monday, July 28, 2014
Contenders for Best Pop/Duo Group Performance: Part 1
Last year's Grammy Award for Best Pop/Duo Group Performance went to Daft Punk and Pharrell Williams for their retro hit single "Get Lucky." This was an obvious choice, despite the strong competition. The contenders this year are less obvious. In terms of music, 2014 has been dominated by one song and one song only: "Fancy" by Iggy Azalea. It's a great tune, but it doesn't come close to last year's hits, all of which dominated at the Grammy nominations. Remember "Royals"? "Roar"? "Just Give Me a Reason"? 2013 was a great year in music, characterized by exceptional hit after exceptional hit. The hits this year haven't lived up to last year's standards. Additionally, so far, no great, landmark albums have been released in 2014. Not to worry, though, there was a slew of great releases in late 2013 that will contend, and there will be the expected rushed releases right before the end of the Grammys eligibility period at the end of September.
I know that nominations aren't announced until December. But I'm starting now, highlighting a few of the contenders for the Grammy for Best Pop/Duo Group Performance. More contenders for this category will be discussed in future blogs, which will also focus on the four major categories (Album of the Year, Record of the Year, Song of the Year, Best New Artist) and the main categories of the Pop field (Best Pop Solo Performance and Best Pop Vocal Album).
"Fancy" is the obvious choice for Best Pop/Duo Group Performance. It could, however, be moved to the Rap field. It's very ambiguous what the Grammys will do. In the past, it hasn't been clear if a duo/collaboration that features rap is under the Pop or Rap field. "California Gurls" by Katy Perry featuring Snoop Dogg was placed in Pop, "My Humps" was placed in Pop, yet "Talk That Talk" by Rihanna featuring Jay-Z was placed in Rap. "Fancy" is mostly rap, however it has a mass pop appeal with a pop chorus and bridge. If it goes to the Rap category, its chances are significantly lowered. If it ends up in Pop, it is the obvious song to beat.
Interesting enough, "Problem"--another song with Iggy Azalea, this time as newcomer Ariana Grande's partner in crime--was a huge hit, yet its teeny-bopper feel may alienate a few Grammy voters. Ariana Grande is still new to the scene, and while this song was extremely successful, we aren't sure if voters have taken her seriously yet. However, her vocals impress time and time again, and her debut album, though it wasn't nominated this past year, was critically acclaimed. Plus, Grande seems to be quite the likable celebrity, and the rising star among her pop peers. Thus, it is quite possible that we'll see "Problem" as a Grammy nominee in December.
"Talk Dirty" by Jason Derulo was an undeniable dance floor hit, but I'm not sure if Grammy voters will take Derulo seriously either. He will have better luck in the Rap field. All in all, however, out of all of the hits of the year, this one has possibly the lowest amount of quality. Another low-quality, yet popular dance floor hit was "Timber" by Pitbull featuring Kesha. Pitbull is mediocre at best, but I like Kesha. The song isn't terrible--in fact Kesha shows off her admirable range and ditches the auto tune--but it isn't Grammy worthy. Perhaps in a year of few candidates, the voters will just have to pick it. But I don't see it coming to that.
One song which I would love to see nominated in this category is Neon Trees' "Sleeping With a Friend." The indie band from Utah hasn't received any love from the Grammys despite 2010's brilliantly catchy "Animal" and a 1980's-inspired, exceptionally written second album in 2012. They have yet to garner much traction nationally either, though they appear to have a strong fan base. It may not be enough to secure a Grammy nomination, but it would be great if their talent was finally recognized.
There are more contenders in this category to be sure, but I am leaving some of the best for last. As of now, out of this bunch, "Fancy" is the one that stands out the most. But the Recording Academy always likes surprising us and switching things up. We'll just have to wait and see.
I know that nominations aren't announced until December. But I'm starting now, highlighting a few of the contenders for the Grammy for Best Pop/Duo Group Performance. More contenders for this category will be discussed in future blogs, which will also focus on the four major categories (Album of the Year, Record of the Year, Song of the Year, Best New Artist) and the main categories of the Pop field (Best Pop Solo Performance and Best Pop Vocal Album).
"Fancy" is the obvious choice for Best Pop/Duo Group Performance. It could, however, be moved to the Rap field. It's very ambiguous what the Grammys will do. In the past, it hasn't been clear if a duo/collaboration that features rap is under the Pop or Rap field. "California Gurls" by Katy Perry featuring Snoop Dogg was placed in Pop, "My Humps" was placed in Pop, yet "Talk That Talk" by Rihanna featuring Jay-Z was placed in Rap. "Fancy" is mostly rap, however it has a mass pop appeal with a pop chorus and bridge. If it goes to the Rap category, its chances are significantly lowered. If it ends up in Pop, it is the obvious song to beat.
Interesting enough, "Problem"--another song with Iggy Azalea, this time as newcomer Ariana Grande's partner in crime--was a huge hit, yet its teeny-bopper feel may alienate a few Grammy voters. Ariana Grande is still new to the scene, and while this song was extremely successful, we aren't sure if voters have taken her seriously yet. However, her vocals impress time and time again, and her debut album, though it wasn't nominated this past year, was critically acclaimed. Plus, Grande seems to be quite the likable celebrity, and the rising star among her pop peers. Thus, it is quite possible that we'll see "Problem" as a Grammy nominee in December.
"Talk Dirty" by Jason Derulo was an undeniable dance floor hit, but I'm not sure if Grammy voters will take Derulo seriously either. He will have better luck in the Rap field. All in all, however, out of all of the hits of the year, this one has possibly the lowest amount of quality. Another low-quality, yet popular dance floor hit was "Timber" by Pitbull featuring Kesha. Pitbull is mediocre at best, but I like Kesha. The song isn't terrible--in fact Kesha shows off her admirable range and ditches the auto tune--but it isn't Grammy worthy. Perhaps in a year of few candidates, the voters will just have to pick it. But I don't see it coming to that.
One song which I would love to see nominated in this category is Neon Trees' "Sleeping With a Friend." The indie band from Utah hasn't received any love from the Grammys despite 2010's brilliantly catchy "Animal" and a 1980's-inspired, exceptionally written second album in 2012. They have yet to garner much traction nationally either, though they appear to have a strong fan base. It may not be enough to secure a Grammy nomination, but it would be great if their talent was finally recognized.
There are more contenders in this category to be sure, but I am leaving some of the best for last. As of now, out of this bunch, "Fancy" is the one that stands out the most. But the Recording Academy always likes surprising us and switching things up. We'll just have to wait and see.
Saturday, July 19, 2014
Movie/Music Combo Review: Neighbors is Laugh-Out-Loud Fun while Lana Del Rey's Ultraviolence is a Reliably Haunting Effort
Check out Neighbors, the new comedy film starring Seth Rogen and Zac Efron. It's laugh-out-loud humor that is mostly juvenile, but delivered cleverly enough to make even the most sophisticated of movie-goers chuckle. The film isn't without flaws, such as several comedy cliches and jokes that don't necessarily land, but it is ultimately an enjoyable, exhilarating effort. Backed by a modern soundtrack featuring the likes of Fergie and Kesha, and brimming with humor involving ragers and iPhones, Neighbors is a timely film that may be a little too close for comfort for some viewers (ahem, the younger audience members). Additionally, in line with comedy standards, the acting actually impresses. While Seth Rogen steals most of the scenes he's in, the most bravura--and at times disturbing--performance of them all was that of Zac Efron as the president of Delta Psi Beta Fraternity. He brings a dark realness and anger to what could have been a steorotypical performance, a depth that one wouldn't expect from such a film.
3/5
Also check out two-time Grammy-nominated artist Lana Del Rey's album Ultraviolence. Though it was released last month, I finally decided to take the time to write a quick review on it. I am a big admirer of Lana due to her retro-Americana vibe as well as her brilliant songwriting.
Ultraviolence is a perfectly lazy and misty album that strangely has a New York and an L.A. feel to it. Despite her White Plains roots, Lana is a girl whose heart belongs to both coasts. She sings to the past with a heavy loneliness in her voice, and you can see with every word the terrible, beautiful world she inhabits. The album has a strong start with the wonderful "Cruel World" and remains strong through the lead single "West Coast." In between these two tracks is "Brooklyn Baby," arguably the best and most memorable song on the album. Unfortunately, though, "Sad Girl," though still a solid track, opens the less memorable section of the album. Lana redeems herself in the end, though, with the hauntingly beautiful "Old Money" and a gorgeous rendition of "The Other Woman." The album starts strong, and ends strong, and throughout it, flaws and all, Lana delivers her signature, lonely girl style we all love.
4/5
3/5
Also check out two-time Grammy-nominated artist Lana Del Rey's album Ultraviolence. Though it was released last month, I finally decided to take the time to write a quick review on it. I am a big admirer of Lana due to her retro-Americana vibe as well as her brilliant songwriting.
Ultraviolence is a perfectly lazy and misty album that strangely has a New York and an L.A. feel to it. Despite her White Plains roots, Lana is a girl whose heart belongs to both coasts. She sings to the past with a heavy loneliness in her voice, and you can see with every word the terrible, beautiful world she inhabits. The album has a strong start with the wonderful "Cruel World" and remains strong through the lead single "West Coast." In between these two tracks is "Brooklyn Baby," arguably the best and most memorable song on the album. Unfortunately, though, "Sad Girl," though still a solid track, opens the less memorable section of the album. Lana redeems herself in the end, though, with the hauntingly beautiful "Old Money" and a gorgeous rendition of "The Other Woman." The album starts strong, and ends strong, and throughout it, flaws and all, Lana delivers her signature, lonely girl style we all love.
4/5
Thursday, July 17, 2014
Jason Mraz Delivers Solid Fifth Album
Jason Mraz is a two-time Grammy Award-winning singer-songwriter, best known perhaps for his 2008 hit single "I'm Yours." I've always been a fan of Mraz; I remember first hearing "Geek in the Pink" in middle school, and admiring the beautiful writing of "I Won't Give Up" when I was a senior in high school. Out of all of the male artists out there, Mraz continues to produce well-written, well-sung, catchy music.
He is a coffeehouse artist through and through, however on Yes! Mraz leans closer to country than ever before, due to a few stylistic choices and several odes to nature (perhaps his Virginia roots are finally coming through). The songs are all guitar-heavy and softly strummed, and in the typical Mraz style, make it impossible for you not to sway along. The album's soft, laid-back tone produces a natural versatility; these songs are appropriate for rainy days when all you want to do is lay on your couch and drink hot tea, while at the same time appropriate for driving in your car on a sunny, summer afternoon. Additionally, while Yes! exudes the laziness and tranquility of summer, there are hints of a crisp, autumnal wind that underlies the entire production.
Yes! is very much what you would expect from Mraz: feel-good songs and several romantic ballads doused in a quiet melancholy. There are no surprises here. But still Mraz delivers a solid fifth album with several wonderfully breezy highlights, including "Love Someone," "3 Things" and "Long Drive." "Long Drive" could have easily been taken from a Lady Antebellum album, while the album's best song, "Hello, You Beautiful Thing" could have been written for Jack Johnson. "Hello, You Beautiful Thing" truly is a beautiful thing; the beat is infectious, the lyrics are clever, and Mraz's voice has never sounded better.
Of course, there are several tracks that come across as recycled material. "Best Friend," "Quiet" and "Out of Your Hands" are forgettable fillers. These songs have moments of beauty, and they aren't by any stretch of the imagination mediocre. They just don't achieve the same level of musical brilliance as Mraz's best, and thus get lost in the mix.
While Mraz may get bogged down by forced metaphors and coffeehouse cliches, his fifth album is still a must-listen. His talent still astounds, despite the repetitiveness of some of his songs, and he only seems to be getting better. "Long Drive" indicates that Mraz could certainly transition into country music, and "Hello, You Beautiful Thing" indicates he hasn't lost his magic touch of making an irresistible love song. Yes! may not be a masterpiece, but it is a sign of better things to come.
3.5/5
He is a coffeehouse artist through and through, however on Yes! Mraz leans closer to country than ever before, due to a few stylistic choices and several odes to nature (perhaps his Virginia roots are finally coming through). The songs are all guitar-heavy and softly strummed, and in the typical Mraz style, make it impossible for you not to sway along. The album's soft, laid-back tone produces a natural versatility; these songs are appropriate for rainy days when all you want to do is lay on your couch and drink hot tea, while at the same time appropriate for driving in your car on a sunny, summer afternoon. Additionally, while Yes! exudes the laziness and tranquility of summer, there are hints of a crisp, autumnal wind that underlies the entire production.
Yes! is very much what you would expect from Mraz: feel-good songs and several romantic ballads doused in a quiet melancholy. There are no surprises here. But still Mraz delivers a solid fifth album with several wonderfully breezy highlights, including "Love Someone," "3 Things" and "Long Drive." "Long Drive" could have easily been taken from a Lady Antebellum album, while the album's best song, "Hello, You Beautiful Thing" could have been written for Jack Johnson. "Hello, You Beautiful Thing" truly is a beautiful thing; the beat is infectious, the lyrics are clever, and Mraz's voice has never sounded better.
Of course, there are several tracks that come across as recycled material. "Best Friend," "Quiet" and "Out of Your Hands" are forgettable fillers. These songs have moments of beauty, and they aren't by any stretch of the imagination mediocre. They just don't achieve the same level of musical brilliance as Mraz's best, and thus get lost in the mix.
While Mraz may get bogged down by forced metaphors and coffeehouse cliches, his fifth album is still a must-listen. His talent still astounds, despite the repetitiveness of some of his songs, and he only seems to be getting better. "Long Drive" indicates that Mraz could certainly transition into country music, and "Hello, You Beautiful Thing" indicates he hasn't lost his magic touch of making an irresistible love song. Yes! may not be a masterpiece, but it is a sign of better things to come.
3.5/5
Monday, July 14, 2014
Mirliani Must-See Movie #2: The Rescuers (1977) dir. John Lounsbery, Wolfgang Reitherman, Art Stevens
A Disney movie? For the second post?
My first must-see film was a controversial, not-so-historically accurate flick starring Spiderman's Kirsten Dunst. My second must-see film is the story of two mice who save a little, orphaned girl from the swamps of Baton Rouge. Where is this blog's credibility?
In listing some of my favorite films, I wanted to run the whole gamut. Marie Antoinette is a modern-day indie flick, and The Rescuers is a beloved, animated film from the late 1970's. Different eras, different mediums, different styles.
The Rescuers is arguably the most underrated film in the entire Disney canon, as well as one of my favorites. Bob Newhart voices the protagonist, the action is thrilling, the animation is gorgeous, and the story is startlingly heartbreaking for a kid's film (possibly an explanation for its lack of popularity today). However, despite being buried behind the likes of The Little Mermaid and The Lion King (which are also fantastic classics), at the time, The Rescuers was a financial success and received positive reviews from critics. Additionally, the film received an Academy Award nomination for the song "Someone's Waiting For You."
Although the film can certainly feel dated (especially due to the string-heavy, lazily-sung, Carol King-esque background music that accompanies several beautifully animated sequences), it should still be watched today for several reasons: the characters are charismatic (yes, they are two mice, a seagull, and a little girl), the "Someone's Waiting For You" scene with little Penny looking out at the sky hoping for a mother and a father simply tears at your heart and transcends the limitations of what an animated film can make us feel, and finally--for those adults out there--the story can be quite delightfully dark. Looking for a diamond in the skull of a pirate? Escaping a cavern that is about to be flooded? Riding about the swamps being chased by a madwoman? And this is a kid's film? It is great fun and keeps you fully entertained.
There isn't a Disney movie out there that has so many different elements playing at once. The characters are so varied and so colorful---from the villainous Madame Medusa to her sniveling assistant to her two evil alligators--you wonder how they all fit on screen. Yet no matter how ridiculous the film gets, in the end, it touches us because of its simple premise: little Penny just wants a home. It is a human story about love and family that, in terms of delivering a message and touching us, goes beyond what most animated films are able to accomplish. You leave the film with a warm feeling inside. If that isn't enough to see it, appreciate it for its aesthetics. It really is a pleasure to look at.
Rating: 5/5--"Masterpiece"
My first must-see film was a controversial, not-so-historically accurate flick starring Spiderman's Kirsten Dunst. My second must-see film is the story of two mice who save a little, orphaned girl from the swamps of Baton Rouge. Where is this blog's credibility?
In listing some of my favorite films, I wanted to run the whole gamut. Marie Antoinette is a modern-day indie flick, and The Rescuers is a beloved, animated film from the late 1970's. Different eras, different mediums, different styles.
The Rescuers is arguably the most underrated film in the entire Disney canon, as well as one of my favorites. Bob Newhart voices the protagonist, the action is thrilling, the animation is gorgeous, and the story is startlingly heartbreaking for a kid's film (possibly an explanation for its lack of popularity today). However, despite being buried behind the likes of The Little Mermaid and The Lion King (which are also fantastic classics), at the time, The Rescuers was a financial success and received positive reviews from critics. Additionally, the film received an Academy Award nomination for the song "Someone's Waiting For You."
Although the film can certainly feel dated (especially due to the string-heavy, lazily-sung, Carol King-esque background music that accompanies several beautifully animated sequences), it should still be watched today for several reasons: the characters are charismatic (yes, they are two mice, a seagull, and a little girl), the "Someone's Waiting For You" scene with little Penny looking out at the sky hoping for a mother and a father simply tears at your heart and transcends the limitations of what an animated film can make us feel, and finally--for those adults out there--the story can be quite delightfully dark. Looking for a diamond in the skull of a pirate? Escaping a cavern that is about to be flooded? Riding about the swamps being chased by a madwoman? And this is a kid's film? It is great fun and keeps you fully entertained.
There isn't a Disney movie out there that has so many different elements playing at once. The characters are so varied and so colorful---from the villainous Madame Medusa to her sniveling assistant to her two evil alligators--you wonder how they all fit on screen. Yet no matter how ridiculous the film gets, in the end, it touches us because of its simple premise: little Penny just wants a home. It is a human story about love and family that, in terms of delivering a message and touching us, goes beyond what most animated films are able to accomplish. You leave the film with a warm feeling inside. If that isn't enough to see it, appreciate it for its aesthetics. It really is a pleasure to look at.
Rating: 5/5--"Masterpiece"
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