Clear and No Surpises--Jack Ryan: Shadow Recruit

     There's no real reason to call Jack Ryan: Shadow Recruit a Tom Clancy movie: sure, some of the characters are based upon the late author's, but there isn't too much to differentiate between Jack and Jason Bourne or Ethan Hunt--other than Jack Ryan, in this 5th incarnation that features the character (dating back to Alec Baldwin's portrayal in 1990's The Hunt for Red October) is less exciting than most. He's just a pretty face who knows how to handle himself in stressful situations, instead of a gruff and entertaining machismo like what Harrison Ford brought to the table. Jack Ryan: Shadow Recruit contains all of the ingredients to make delicious spy-movie stew (a good director and supporting cast, an intriguing echoes-of-Cold-War story): but since this incarnation of the Ryan character is so bland, Shadow Recruit becomes a tame and by-the-numbers action movie. It barely satiates your appetite.
    Chris Pine stars as the titular character, and he has enough charm to definitely make Jack likable. But he's more fitted to the cocky swagger of Captain Kirk than the humble Marine turned Wall Street compliance officer that Jack Ryan is in this "reboot" of the so-called franchise. We first meet Jack as he witnesses the 9/11 attacks from London, where he's attending their School of Economics. Deciding to become a Marine, he gets deployed to Afghanistan to fight for his country. Events transpire that cause him to become a hero, and people take notice: most notably Thomas Harper (Kevin Costner, in full-on mentor mode) and Dr. Cathy Muller (Keira Knightley), his rehab nurse who gets all googly-eyed at his quick progress.
     So begins this reboot, minus any significant excitement that the viewer got from Bond's reboot in Casino Royale or Batman's in Batman Begins. We flash-forward 10 years, and Jack is working under cover on Wall Street for the CIA, trying to decipher terrorist activity through stocks, companies and numbers. He soon finds enough information about some peculiar transactions, and he gets sent to Moscow on what turns out is his first operational mission, complete with assassins, constant surveillance and a loaded handgun.

     Much of Jack Ryan: Shadow Recruit's tension revolves around typing on a computer or plugging a drive into a port or hacking into security systems. It's all very hi-tech, but there's only so much excitement one can draw from fast-moving fingers on a computer screen with hundreds of codes and passwords flying by. We get a villain, Victor Cheverin (Kenneth Branagh, who also directed), a Russian who plans to bring down America's economic system. But villains have been far more complex and terrifying in many different Bond films. Sometimes you may wonder how Victor even became so powerful, since he gets duped numerous times by ideas that are in the Obvious 101 handbook. The climax of the film is kind of laughable and anticlimactic, featuring a generic motorcycle chase scene and some hand-to-hand combat where the viewer can barely decipher who is punching who.
      These first couple of months of the new year are usually the cinematic dumping grounds, where studios drop off films without originality or wit to die. Occasionally, viewers can come upon a surprise: but Jack Ryan: Shadow Recruit surely isn't it. The cast and director Kenneth Branagh (who has the skills--he directed the first Thor) do fine with the standard script, but the lack of major excitement and the absence of any thought-provoking views make this Jack Ryan a film that won't be remembered a few months from now.     (C+)

Top 10 Films of 2013

     I don't know if anyone could claim that the year 2013 was a great year for film making: sure, there were some gems, but they were few and far between and were sandwiched between dozens of below-average efforts. A question begs to be asked: does Hollywood know that much of the public is tired of the same ol' stuff? By the looks of the first few months of 2014, it seems that the answer is "No". However, it didn't stop me from watching 72 films released in the year 2013. Here are my favorites:



Honorable Mentions:

25. Enough Said
24. Don Jon
23. Her
22. Side Effects
21. Oblivion
20. Upstream Color
19. American Hustle
18. Dallas Buyers Club
17. The Hobbit: The Desolation of Smaug
16. The Place Beyond the Pines
15. Pacific Rim
14. Blue Jasmine
13. This is the End
12. Out of the Furnace
11. Before Midnight

10.

Rush

Ron Howard's Rush is an exciting sports film, and it's filled with great competition and a cockiness that makes every minute fun to watch. If you don't know the specifics of the true story, even better: the rivalry between Britain's James Hunt (Chris Hemsworth) and Austria's Niki Lauda (Daniel Bruhl) during the 1976 Formula 1 racing season has as many twists and turns as an event at Watkins Glen. But there's one reason Rush races ahead of more average sports stories: Daniel Bruhl's portrayal of Niki Lauda. If Bruhl's face looks familiar, he had roles in Tarantino's Inglorious Basterds and was in one of the Bourne films, but in Rush he really becomes a name to watch. As "rat-faced" Niki, Bruhl portrays a racing obsession (and making his life goal beating cocky playboy James Hunt) with a charm and likability that grows as the film's minutes zoom by. And after a race that changes both of the drivers' lives forever, James and Niki's competition morphs into an ever-growing respect for one another that defines the rest of their lives.

9.

Short Term 12

This little indie film probably isn't on your radar, but it should be. It's mostly about a character named Grace (Brie Larson) who works at a facility for at-risk teenagers. These kids come from broken homes, or they've been molested, or they have anger issues that don't allow them to communicate well with others their age. Short Term 12 is about the people who basically dedicate their lives to make a difference in the kids' lives. It could have easily (and quickly) fallen into TV movie cliches and eye-rolling, but it somehow sidesteps most of the pitfalls of the genre, becoming an emotional experience that is sad, heart-breaking and hopeful from scene-to-scene. Brie Larson is a wonder as Grace, and John Gallagher, Jr.'s Mason (you might recognize him from HBO's The Newsroom) is funny and touching, as he slowly comes to realize the reasons why Grace is so passionate about her work. It can be a little corny at times (no story about social work avoids that), but Short Term 12 has the most true-life emotion of any film this year.

8.

Gravity

Alfonso Cuaron created one of my favorite films of the last decade in 2006's Children of Men: the cold and realistic setting was made even more real when the theater I saw it in (during the winter time) hadn't turned on the heat yet due to its early matinee showing. We could actually see our breath. I went to see Gravity at the IMAX and had a similar experience (but not due to the temperature): the big enveloping screen made me feel like I was actually floating in space, adding to the weightlessness feeling that is prevalent throughout the film. Gravity instilled a sense of panic in my nervous system that I wasn't sure was possible in modern cinema. It's also the most technically brilliant film 2013: though I couldn't really care less about the story (or Sandra Bullock's dead child plot line), Gravity is sheer glory in its special effects, computer generated imagery, and its use of sound (or lack thereof, due to the vacuum of space). No, Gravity doesn't have a great story, and it didn't come close to affecting me like Children of Men, but it's a master class in the potential of where film making may be headed in the coming years.

7.

Blackfish

Blackfish is the best documentary of the year. It's also one of the most thrilling films, period. You're stuck in you're own little bubble if you think this story of the behavior of killer whales in captivity (particularly at SeaWorld) is just liberal propaganda or just another basic sob story of animal cruelty (not that those aren't relevant, too). Focusing on Tilikum, a killer whale whose bloodline is full of rage and violent outbursts against trainers at ocean-life parks, Blackfish plays out like a horror movie: it's drowning in shocks and incredibly violent moments that almost take your breath away. It can also bring tears to your eyes--not just because of the living conditions or treatment of the killer whales (which surely is sad enough), but because of the trainers whose lives have been altered even if they had perfectly good intentions. Blackfish does two things: it makes you never want to go to SeaWorld (if you ever did, anyway), and it solidifies its status as top-notch documentary film making.

6.

Tie: 

Iron Man 3 

Star Trek Into Darkness 

The Hunger Games: Catching Fire

If Hollywood did something correctly in 2013, it may have been big-budget sequels. Most were better than their previous installments (Maybe not Star Trek Into Darkness, but it was at least as good), something that is rare in this era that puts more stock into watching the money roll in than the actual quality of a film. These three were the best of the bunch:

Iron Man 3: This sequel far surpassed Iron Man 2. Reinvigorated by director Shane Black (of 90's era action movie fame), this incarnation of Tony Stark's story is full of wit and incredibly done comic-book action sequences (that plane scene) that leave you breathless. It unfortunately still contains Gwyneth Paltrow, but an entertaining Guy Pearce is a nice touch. 

Star Trek Into Darkness: Many fans were pissed about the big reveal (that wasn't much of a reveal at all): it's Khan! How dare they do another story about Khan? But I really didn't care. It's every bit as fun as J.J. Abrams' first installment, and Benedict Cumberbatch's villainous performance is thrilling. I could listen to him read J. R. R. Tolkien and it would be entertaining--and I did later in the year, because he's the voice of the dragon Smaug in the newest Hobbit. 

The Hunger Games: Catching Fire: I was wondering how the filmmakers would pull off "The Clock" (the new arena for the competitors). I thought they did an admirable job. The budget was almost double of the original, and it's easy to tell: the action and special effects are slicker and more exciting. And though Jennifer Lawrence can show off her acting chops easier in other roles, she embodies Katniss and is as watchable as ever. 

5.

You're Next

You're Next was some of the most fun that I've had at the movies this year, and that's why it has climbed so high on my list. In a year full of pretty good (not amazing) movies taking on serious subject matter (many of which take themselves a little too seriously), You're Next was a breath of fresh air--well, not too fresh, with all of the bloody mist flying about. It starts off as a typical low-budget slasher film with some less-than-stellar acting: a wealthy family is having a reunion at their remote Missouri mansion. There's plenty of family tension with arguing and dick-measuring (not literally). The crew sits down for dinner and...all Hell breaks loose. Outfitted with creepy animal masks, a group of intruders begins to assault the house, picking off members of the family with brutal weapons and excessive violence. It's short and sweet at 95 minutes (more would have been too much), and it's slathered with stylistic horror, it's full of laughs and it has a heroine who is significantly more than what she seems. A fun time.

4.

Mud

Matthew McConaughey is the man. Throughout the past couple of years, he has completely transformed himself into a damn fine American actor: Killer Joe, Magic Mike, Dallas Buyer's Club, The Wolf of Wall Street--his roles in all of these films (however big or small) are memorable and are the work of a person at the top of their game. He's already garnering praise for HBO's new show True Detective and also is starring in one of my most anticipated films of 2014, Christopher Nolan's Interstellar. Mud is no different. Directed by the skilled independent director Jeff Nichols (Shotgun Stories, Take Shelter), Mud is a modern day Mark Twain-esque story about two coming-of-age boys and a strange man on the run (McConaughey), taking place among the swamps of the Mississippi River. It has the essence of a fairy tale: Nichols directs the setting and nature of the area to make it feel almost timeless. But McConaughey's performance is what anchors Mud: it's full of sadness and regret, but also a fierce excitement and hope. Many people didn't like the violent outburst of an ending. But I thought it solidified Mud as an unsettling parable about growing up.

3.

12 Years A Slave

If you had seen director Steve McQueen's other two films, Hunger and Shame, you'd realize that the man can take on any subject, making it riveting and uncomfortable viewing. American slavery is already an uncomfortable subject, one that hasn't been portrayed that well in cinema (I'm not counting last year's revenge fantasy Django Unchained). Until now: 12 Year's a Slave is necessary viewing, and not just for white liberals who want to suffer in guilt because of their ancestors. For everyone. Some of the film follows a pretty standard path, but a few particulars stand-out: Michael Fassbender's scary portrayal of slave owner Edwin Epps. Can he just be a part of every film from now on? Chiwitel Ejiofor's portrayal of Solomon Northup, a free black man who wakes up in chains after a night of drinking, and realizes the tightrope walk of life and death that he's now living. And two scenes that are incredibly difficult to watch: Solomon hanging from a noose with his tiptoes barely touching the ground and Solomon having to whip another slave to save his own life. McQueen's handling of these scenes transforms them into some of the best of the year.

2.

Prisoners

Prisoners is far from a feel-good movie. It has the kind of story that gets under your skin and sits there, festering until a resolution allows the pressure to dissipate. It's incredibly powerful: when Keller Dover's (Hugh Jackman) daughter gets kidnapped, how far should he take himself into an abyss of violence when he thinks he knows who committed the crime? And can Detective Loki (Jake Gyllenhall) locate the girls before it's far too late? Both Jackman and Gyllenhall have top-notch performances, but I'm especially partial to Gyllenhaal's: his Detective seems typical at first (single, incredible solving-crimes record), but it's not long before you can see something boiling under the surface of his nervous tics. But the real star of Prisoners is director Denis Villeneuve. This is his first American film, and his beautiful direction, transfixing imagery and incredible use of darkness and light allows Prisoners to transcend a normal kidnapping film, becoming a dread-filled exercise in great film making. 

1.

The Wolf of Wall Street

No film this year is crazier than The Wolf of Wall Street, the story of stockbroker Jordan Belfort and his rise from pushing penny stocks at a rundown strip mall operation to snorting cocaine out of an expensive stripper's butt hole. And no performance reaches the highs of Leonardo DiCaprio's: his passion, his insanity, his hilarity, his powerful speeches, his shocking bursts of emotion. Martin Scorsese--DiCaprio's frequent collaborator (and after Wolf, let's hope these two have even more in store for us in the near future)--has created a three-hour film about sex, drugs and America that consistently pushes the boundaries of good taste and misogyny yet crosses the line so quickly that the audience refuses to care. It's the work and cockiness of (since Scorsese is 71) a much younger man. You may think The Wolf of Wall Street is a drama about stock brokers on Wall Street who behave badly on their free time. But you'd be wrong: The Wolf of Wall Street is a bleak black comedy--and it's one of the funniest films of the year. 

Behind Enemy Lines in Lone Survivor

     If you're not familiar with the story of Lone Survivor (based on the nonfiction book of the same name by Marcus Luttrell and Patrick Robinson), you only have to read the title to realize that the majority of the characters you come to know in the film are going to die. And die they do, typically in absolutely brutal fashion. The everything-goes-wrong mission in Afghanistan--called Operation Red Wings--is ripe for a film about the skill of soldiers, patriotism, and the capacity of a human being's survival instinct. The acting is good, particularly when the bullets start flying: Mark Wahlberg has confidence and intensity, Emile Hirsch's terror is sad and vivid, and Ben Foster has a wild-eyed fervor that he brings to every role. So why is Lone Survivor a good (but not great) movie? I point the finger at director Peter Berg. Though he does a much better job than his last two films (2008's horrible Hancock and 2012's abhorrent Battleship), Berg's decision for more action and less subtlety and his over-the-top depiction of the violence causes Lone Survivors' characters to seem like invincible action heroes instead of actual human beings.
     From the opening montage scene during the credits, showing real-life Navy SEALs in training and gaining a confidence that they can push their bodies far further than they ever expected, Lone Survivor almost feels like a recruitment film for the armed forces (similar to portions of 2012's Act of Valor). When we first see the actors, they're doing normal things that soldiers do while on base: chatting with their girlfriends online, participating in a macho one-upmanship (whether running or ribbing on each other), and relaxing in cool confidence before their next mission. Though some have families back home, this is their real home: with their brothers, getting put through the Hell of war to protect America.
     After the few minor character development scenes, our four main SEALs are dropped into enemy territory, the treacherous and sometimes beautiful mountains of the Kunar Province. Their task seems doable: disrupt an Anti-Coalition Militia in the area by capturing or taking out a higher-up in the Taliban. They inch their way through the terrain until they reach a high vantage point of a village where the target has been located. Then they wait. Until a small group of goat herders walks right into them. A decision must be made: Kill the herders and trek up the mountain for extraction, tie them to a tree and trek up the mountain for extraction, or let them go and risk them coming back with an army. They choose the latter option, and it sets in motion the bloodbath of the rest of the film.
     Not long after the three herders are released, the SEALs can't get a connection with their Base, and a large group comes up the mountain to kill them. This middle potion of the film has the highest highs and the lowest lows: some of it is extremely intense, especially when our SEALs first realize that they are being surrounded. That first head shot, full of the notorious pink mist, is satisfying. And much of the violence is so visceral that you can almost feel it, a rarity in violent movies nowadays. But it grows to be too much: our characters are shot, take shrapnel, jump off a cliff, smash their heads on rocks, smack their bodies on trees, get shot some more, take rocket launcher blasts, jump off of another cliff, smashing their bodies on boulders, breaking bones, and clearly destroying their internal organs. After all of this, they still run (or at least hobble) around, splitting up blood, but they're still healthy off to pick off the militant forces. And of course, the non-Americans usually only take 1 bullet to die. The ending is rushed and leaves little impact (except for the montage of photos of the actual soldiers before the end credits).
     Filmmakers who decide to make a film about war have to walk a fine line: be too subtle and slow, and you risk boring the viewer. Focus too much on shooting, killing, and explosions, it becomes sensory overload, boring the viewer in the opposite fashion. A little nuance would have gone a long way in Lone Survivor: there's plenty of intensity in the film, but it never hits any relevant social commentary like Full Metal Jacket, never makes you sweat like The Hurt Locker, and it's not as well-directed as the Bin Laden compound raid in Zero Dark Thirty. It's more straight action movie (and sometimes even seems like a parody of one, like when the four Seals jump off a cliff, hand-in-hand in slo-mo). And that's okay--you can't claim that Lone Survivor isn't entertaining as an action movie, once the tension is raised and the heroes are put into peril. I just like my heroes--especially in war films--more human being than nearly indestructible force.     (B)

Leo Wows in The Wolf of Wall Street

       Leonardo DiCaprio and Martin Scorsese have formed a bond throughout the actor's career: Leo was the main man in 2002's messy but entertaining Gangs of New York, he starred as the mentally ill Howard Hughes in 2004's The Aviator, he was the major part of the great ensemble cast in 2006's The Departed, and he provided a haunting performance in 2010's Shutter Island. In Scorsese's new film, The Wolf of Wall Street, Leo stars as Jordan Belfort, an aspiring stockbroker who builds a company up from scratch to become a money-raining powerhouse. It's the best role of his career. Before seeing Wolf, it almost seemed like the Best Actor of the year award was a lock with Chiwetel Ejifor's portrayal in 12 Years a Slave. Not anymore: DiCaprio goes absolutely crazy in The Wolf of Wall Street, dominating every single scene with a drug-fueled excitement that makes the film one of the best of the year.
     The Wolf of Wall Street is a film that takes you by surprise: from watching the trailers that have been plastered over television screens for the past couple of months, you might think that it's a film about stockbrokers and big money deals. And it is about that too. But it's truly a story about addiction to drugs, addiction to sex, addiction to excess in general. It's a frenetic ride that--even with clocking in at just one minute under three hours--does exactly what every movie should do: entertain the shit out of us.
     Like many Scorsese films before it, Wolf helps us along the story with a cocky voiceover from its main star. Belfort begins his journey (after losing his entry-level stockbroker job on Black Monday) selling penny stocks at a sketchy backroom operation. He's a natural. He soon befriends Donnie (Jonah Hill, showing again that he is a damn fine actor), and they decide to form their own firm with a group of ragtag misfits that have experience selling drugs and scamming people. It doesn't take long before the group starts getting rich and the firm expands exponentially.
     The Wolf of Wall Street is packed tightly with vulgarity, sex and drugs. Everyone is high or naked in nearly every scene. There are gay and straight orgies, bathtubs worth of cocaine and enough Quaaludes taken to tranquilize an elephant. It might become overwhelming with a less skillful director: but Scorsese--at 71 years of age--is a master at taking lives of excess and turning them into cinematic gold. His signature use of music with editing and his masterful cinematic techniques keeps our interest peaked throughout the entire run time of the film. The group makes a lot of money as the firm grows--then they make more than they know what to do with. All of the drugs, yachts, hookers, and alcohol don't even make a dent in their bank accounts. But like Ray Liotta's character in Goodfellas, the higher these characters--especially Jordan--climb amidst a smorgasbord of illegal activity, the more attention it draws to The Man trying to bring you down.
     The FBI takes notice of the firm, and they assign a boy scout agent (Kyle Chandler) on the scene. It provides a couple of great scenes with Jordan, who thinks he can out maneuver the FBI since he's been winning at life for years. Jordan starts trying to figure out how to hide all of his money before it's too late. He gets too cocky, as characters like these always do, and it sets in motion drug-and-alcohol-fueled downfall that is epic in proportion and shocking in its depiction.
     The Wolf of Wall Street is such a wacky and wild ride. I'm almost out of breath just writing and thinking about it, it moves at such an insane pace. And it mainly comes back to Leonardo DiCaprio's performance; it's so damn full of energy: whether he's snorting boatloads of coke, drunkenly dancing up a storm at his wedding to a gorgeous model (like in the gif above), or getting hot wax poured on his back by a violent stripper, Leo lets us unabashedly love this charming jerk of a man. The Wolf of Wall Street is an epic story of American excess showcasing the best acting performance of the year.     (A)

My 10 Favorite Books in 2013

Only a few of these books were released in the year 2013. These are just my favorites throughout the year
in chronologically-read (January to December) order:


Billy Lynn's Long Halftime Walk (Ben Fountain)

   



Fountain's debut novel was the first book that I read of the year, and it was a mostly downhill journey from here. Focusing on the Bravo Squad (mainly Billy Lynn) after they become war heroes because of an embedded Fox News crew broadcasting a blazing firefight against Iraqis, Bill Lynn's Long Halftime Walk is a heartfelt and hilarious and heartbreaking look at American excess and culture. The Bravo boys are on a "Victory Tour", where the group gets shipped home for a period of time to get dragged around from different events like prized cattle. Bravo are soldiers, and the contrast between their rugged lifestyle and the glitz and glam of Hollywood Producers and NFL players and Beyonce is realistic, and only part of their problem. Billy Lynn makes us wonder if parts of our American culture (greed, excess, religion) are even worth fighting for. And Ben Fountain becomes a late-starting author whose every new book will be a major event.

Swamplandia! (Karen Russell)

Another first novel, another incredible debut. After writing a book of short stories, Karen Russell expands upon an idea in that collection (St. Lucy's Home for Girls Raised by Wolves) and builds a lush, swampy world full of vivid characters, beautiful imagery and innovative descriptions. The star of Swamplandia! is a ferocious 12-year-old girl, Ava Bigtree, whose family owns a rundown tourist attraction (aptly named Swamplandia!) in Southern Florida, where the main event is an exciting spectacle of alligator wrestling. The matriarch of the family, Hilola (also the star of the show) has died of cancer, leaving her husband, three teenage children, and the park in disarray. Swamplandia! focuses on Ava, but her siblings and father are all wonderfully drawn characters too. The novel is fantastical: Ava's brother, Kiwi, joins a rival attraction called The World of Darkness, and her sister Osceola falls in love with a ghost (is it real or her imagination?), yet Russell never lets fantasy get in the way of Ava's real struggles: learning to cope without such a shining star of a mother and the terrifying (and sometimes brutal) reality of growing up.

Room (Emma Donoghue)

Jack is a five-year-old boy. He has many similarities with other boys his age: the wondrous nature of every single new day excites him, he loves playing a variety of different games with his Ma, and reading books and occasionally watching television opens doors into his imagination. But there's one gigantic (and horrible) difference: Jack has never left the 11 x 11 prison cell of a room where he was born--it's the only thing he knows. When Ma was years younger, she was abducted by a repulsive man known as Old Nick, who still occasionally visits in the night time. And as Jack is becoming more aware of their unique situation, Ma knows that it's impossible to live in this confinement forever, so the two try and form a plan to release themselves from the bondage of Old Nick. Room has echoes of the horrible news stories of recent years--from the abduction of Elizabeth Smart to the three women in Cleveland--but Emma Donoghue makes the great decision to tell the story through the eyes of Jack, a boy that is slowly coming to the realization that something is incredibly wrong yet has never known anything different. And by focusing on a child, Room allows us to focus on moments of wonder and beauty and the hope of sunlight finally shining on Jack's face instead of the disturbing and grotesque actions of Old Nick.

NOS4A2 (Joe Hill)

Though we don't need a "new" Stephen King (the guy is still churning out great writing with this year's Doctor Sleep and Joyland), Joe Hill could be considered the "new" Stephen King. It helps that he has the same blood--he's King's son. And now's the time to start reading him, because he's sure to produce exciting and thrilling horror works for years to come. His two previous novels, Heart-Shaped Box and Horns, both contained moments of greatness. But NOS4A2 is a culmination of Hill entering the big scene with a disturbing and incredibly well-written horror of a novel. Though the title of the novel invokes an image of vampires, NOS4A2 is a modern twist on a vampire epic that is utterly engaging: the villain is a sick man named Charlie Manx who takes children on a long ride in his Rolls Royce to a mysterious place called 'Christmasland". Our Heroine is a badass chick named Vic McQueen who can ride her motorcycle across a wooden bridge to other places (like a warp). When the two meet, it sets in motion an epic battle that turns into the ultimate page-turner of the year.

The Painted Bird (Jerzy Kosinski)



















Joe Hill's NOS4A2 is a disturbing horror novel. But Jerzy Kosinski's novel The Painted Bird is just plain disturbing. It's not a book you want to read if you're faint-hearted. Focusing on a young boy wandering from village to village during and after WWII, The Painted Bird shows the absolute cruelty and depravity that human beings can inflict upon one another during times of war (or any time, really). Abandoned by his parents, the boy is tortured and beaten by insane and depraved individuals and only rarely shown acts of kindness. No doubt that anyone in America today would feel privileged compared to this young boy's experiences. But it's not all bloodshed and brutality: Kosinski's vivid and poetic imagery--matched with the boy's undying resilience--never allow us to turn away from one of the most disturbing landscapes in all of the literature to come out of World War Two.

Speaker for the Dead (Orson Scott Card)

Orson Scott Card pisses me off. No, my Republican friends, not just because of his hateful anti-gay rhetoric and peculiar political views. It's his writing: his tense changes, his switching between 1st and 3rd person viewpoints, and his sometimes-corny dialogue have a tendency to drive me up the wall. It's more bothersome in the 3rd book of his Ender's Game series, Xenocide. The second book in the series, Speaker for the Dead, fared much better: it's one of my favorite sci-fi novels that I've read (which isn't too many). Taking place many years after the more simple and funny Ender's Game, Speaker is much more dense, focusing on thoughtful notions of atonement, redemption and race relations. It's incredible what Card can do with his writing--characters filled with empathy and kindness--when his real-life beliefs echo some opposite sentiment. I don't see how Speaker for the Dead isn't the crowning achievement of Card's career: I've only finished the third book in the series, Xenocide, and it was rather over-long and un-exciting compared to Speaker.

The Shining (Stephen King)



















So much has been made of the film version of The Shining for the past years. Even a documentary, Room 237, released back in March, decided to delve into the cult-like following of viewers that try and dissect the intricacies of Kubrick's masterful horror film. The original Stephen King novel, released back in 1977, tends to get lost in the shuffle. It shouldn't: The Shining is one of the best novels that Stephen King has ever written, and it's a master class in creating a suspenseful setting where psychological horrors live around every one of the Overlook Hotel's corners. I read The Shining this past summer because King's first true sequel to a standalone novel, Doctor Sleep, was being released in the fall. Sleep--though solid--doesn't live up to the original, but it was a damn tough act to follow: focusing on Jack Torrance's inner struggle with alcoholism and self-pity, King's third book should be on every single person's reading list, and it's--dare I say--better than the treasured Kubrick (loose) adaptation of the novel.

Lolita (Vladimir Nabokov)

What can be said about Lolita that hasn't been said already? Just about nothing. So I'll keep in short and sweet: published back in 1955, Vladimir Nabokov's shocking and (yes) sexy Lolita is the king of books that contain an unreliable narrator. The middle-aged Humbert Humbert is obsessed with a 12-year-old girl (or "nymphet" as he likes to call them)--everything about her: her body, her smell, her looks, her naive personality. You name it. When he becomes her stepfather, it sets in motion a journey of questionable sexual escapades that both sicken and enthrall the reader on nearly every page. The narrative in Lolita is always in question: since we're hearing directly from Humbert, we never know exactly what to think. And when our sympathies start to align in his direction--even after all of the reprehensible acts that he was performed on the young girl--Lolita causes us to question our own morality.

Too Bright to Hear Too Loud to See (Juliann Garey)

I don't have bipolar disorder, but author Juliann Garey does, and her novel Too Bright to Hear Too Loud to See is one of the best books to come out in 2013. Focusing on Greyson Todd, a movie studio executive with a young family, Too Bright never lets us look away from his world-traveling descent into near madness. The book spans years and places very quickly, never letting us feel settled or the least bit comfortable: and that works beautifully when you consider the thoughts (the incredibly-high highs and the agonizingly-low lows) that find a home in Greyson's head. With each chapter, we get to see a different side of Greyson, usually in a different city. Sure, a lot of the time--because of his mental illness--he certainly isn't an extremely-likable character. But that won't stop you from rooting for him or feeling incredible sadness when electroshock therapy may rid him of his only worthwhile memories left: the ones of his estranged daughter.

The Book Thief (Markus Zusak)

My book bud Ry Lowell always has raved about The Book Thief, calling it one of his favorite books maybe of all time. Some of my family has loved it too. They weren't wrong: Markus Zusak's The Book Thief is one of those novels for absolutely any age group that is absolutely timeless. Its trick is taking one of the most difficult subjects in human history--the Holocaust--and turning that subject into a story of hope and love. Narrated by the omniscient Death, who is extremely busy during the period of WWII, The Book Thief focuses on young orphan Liesel, a girl with a love for the written word. When her foster parents take in a Jew to live in their basement, it sets into motion a chain of events that changes Liesel's life forever. The beauty of Zusak's novel is that it's incredibly visual. The scene set ups are so simple and so vivid that they paint a picture in your mind--one that's very hard to forget. And for anybody that loves reading, it's always great to read a story in which books become precious treasures.





Honorable Mentions:

Dark Tower Book 4: Wizard and Glass by Stephen King--

The Man Suit by Zachary Schomburg--

A Single Shot by Matthew F. Jones--

Life After Life by Kate Atkinson--

Russell Continues His Hustle

     Director David O. Russell started his studio career with a few peculiar films that were enjoyable (Three Kings and I Heart Huckabees) yet lacked that special something to propel his name into the pantheon of great American filmmakers. Things have changed in recent years, namely with his story of Mickey Ward's boxing life in The Fighter and one of the greatest romantic comedies in a decade with last year's Silver Linings Playbook. These films showed that his vibrant direction could be gamely applied to any kind of story if they contained a sharp script and impeccable acting. With his new film, American Hustle, he yet again proves that he's capable of making good movies with all-star casts. But I left feeling a little underwhelmed: Hustle contains some very strong performances from its lead actors (some of the better of the year, in cases), but it focuses too much on its 1970's setting and its not-quite-exciting-enough narrative prevents it from becoming one of the year's best.
     In American Hustle, everybody hustles: the con-men, the congressmen, the police and FBI--everyone does what they need to get by and provide for their families. These are complicated characters, and they're the film's best strength: they have many different motives for every action they perform. We first meet Irving (Christian Bale), a chubby schlub with a nasty comb-over and an ability to scam people into giving him money. He quickly falls for a much more attractive Sydney (Amy Adams) at a party and the two bond and instantly make a connection. Irving's never had a solid partner in crime, and Sydney is game right from the start, turning on a British accent and becoming a key factor in upping Irving's game to a bigger league.
     Now they're taking even more money from unsuspecting people in a scamming loan business. So that draws the attention of Richie (Bradley Cooper), an FBI agent whose main goal in life is being the "Quarterback" of a major bust involving powerful people, so he can make a name for himself and stop being a doormat to his family and superiors. He comes up with a seemingly great idea: instead of busting these small-timers, he enlists their cooperation in a major sting involving the New Jersey mayor (Jeremy Renner, surprising in a different role than his norm), Irving's wife Rosalyn (Jennifer Lawrence), a fake Arab Sheik, mobsters, and congressmen who are willing to take bribes to perform illegal actions.

    Bale is wonderful as Irving: the actor has always had a knack for fully becoming characters, and he shows a desperation and nervousness here that he's never shown before. It's like he's channeling a Scorcese-era depressed Robert De Niro with a heart problem. Cooper brings back bits and pieces of his performance in Silver Linings: his obsessive outbursting nature sometimes brings him to the brink of sanity. The women are the true stars of American Hustle, though (and no, not because they're consistently baring their cleavage): Amy Adams sheds accents and characters as often as she does 1970's-era dresses. She's sexy and damn good in her manipulating-men role. And America's Sweetheart Jennifer Lawrence steals scenes in yet another film, a running theme in such a young and impressive career.
     Alas, not everything in American Hustle is perfect. With a cast performing so admirably, as I just mentioned, this statement is tough, but: occasionally the proceedings were a little monotonous. Stories like these have been before, and that's okay, but Hustle never surprised me and too rarely made me think I was witnessing something great (a problem I didn't have watching Silver Linings). Take Argo for example, a story with comparably-similar subject matter. I was excited the whole time when I saw Argo, and I even knew how the story was going to end--with Hustle I didn't know how it was going to end and it still didn't have my butt planted on the edge of the seat.
     American Hustle has echos of an early Scorcese film: the use of the time period's clothing, style and music to bring you into the setting (it's often focused on too much in Hustle), a messy (in a good way) plot that jumps around and never lets you feel comfortable, voice over narration that ebbs and flows with each character's motivation. But it never comes close to reaching those highs that a film like Goodfellas brought to audiences. There's never a feeling of true danger. It's almost as if David O. Russell, as incredibly skilled as he is, was focused too much on the glam of the 1970's story and each actor's performance instead of a cohesive narration with true tension. Before the first scene of the American Hustle, some words flash onto the screen: "Some of this really happened." I have no doubt that it did--I just wish it had been more exciting.     (B)

The Desolation of Smaug: A More Concise Hobbit

     Plenty of people complained when Peter Jackson decided to turn J. R. R. Tolkien's novel The Hobbit into two (and then, finally, three) films. Considering the book's length (300ish pages) and the fact that Jackson turned the epic Lord of the Rings trilogy into only three films, some more caring fans sniffed out some potential studio money grubbing like Gollum sniffs out the Ring when it's nearby. And after witnessing last year's introduction into the Hobbit universe, An Unexpected Journey, many of the fan's concerns were warranted: Journey was overlong and suffered from far too many false starts towards the actual "Journey". At the end of my review for that film, I stated that Jackson "left plenty of room for improvement." And with The Hobbit: The Desolation of Smaug, Jackson improves immensely. The middle portion of The Hobbit trilogy is a much more compact affair, and it's filled with an actual sense of purpose and a destination that is finally within reach.
      When we last left the main characters--Bilbo (a comfortable Martin Freeman), Gandalf (Ian McKellan, who could perform this role in his sleep), and a company of dwarves, led by Thorin Oakenshield (Richard Armitage)--they were journeying to the lair of dragon Smaug to retrieve an ancient and powerful relic (called the Arkenstone) that would allow the dwarves to shower the land in wealth and supplies. Since the characters have already been introduced in the previous film, Jackson wastes no time throwing us back into the journey, and Smaug is all the better for it. Unlike An Unexpected Journey, the feeling of darkness and actual tension starts right from the beginning of Smaug, as the characters make their way to the dangerous forests of Mirkwood.
      Jackson has always had a knack for creating intricate set pieces where danger lurks just around the corner (like the Ring Wraiths in Fellowship or the Orcs outside of the gates in The Two Towers), and though the first Hobbit incarnation lacked any memorable excitement, The Desolation of Smaug has a couple of scenes that are extremely notable: Mirkwood is full of giant spiders that any arachnophobe would lose a night's sleep over. You can almost feel the sticky web as our characters are captured and cocooned. Some fans were also worked up over the fact that Legolas (Orlando Bloom, who hasn't missed a beat) and a new she-elf, Tauriel (Evangeline Lilly, not nearly as annoying as when she was on Lost) have entered the picture. They weren't in the original Hobbit novel. But I am surely not complaining: The Desolation of Smaug contains one of the most entertaining scenes in the entire Middle Earth film universe, where Bilbo and the dwarves are floating down a rapidly moving river with Orcs in pursuit and the two elves picking them off like archer champions. It's Peter Jackson-directing at its best.

     But one could claim that the film's titular character, the dragon Smaug, is the real star of the show. Deliciously voiced by Benedict Cumberbatch (who shined brightly in this past summer's great Star Trek Into Darkness), Smaug hordes his gold and jewels in his massive ancient layer, almost begging someone to try and make off with a little bit of treasure. When Bilbo enters the scene, like a horror-movie teenager slowly entering the basement down the creaking steps, it sets up an enjoyable interplay between the man and the beast, where each character thinks they can verbally outplay the other one.
     This Hobbit film is still nearly three hours, much like the first, and though it barely drags at all compared to the mostly-set-up of An Unexpected Journey, it's still only one third of a trilogy based upon one (relatively) short book, so some filler is inevitable (namely the dungeons of the Elves and the lake town of Esgaroth). But there's a big difference between the filler of The Desolation of Smaug and An Unexpected Journey: the scenes that slow down this second entry in the series actually set up great action and excitement instead of just more walking...and more walking...and more walking....And though Smaug ends on a cliffhanger that sets up an important scene in the next film (titled There and Back Again), Jackson's ability to put the focus on much more specific and concise plot points allows The Hobbit: The Desolation of Smaug to rise far above the Journey of the first film.     (B+)

Top 10 Albums of 2013

10. Kanye West--Yeezus

Everybody goes through a rap phase. It's that time in high school when you think that it's cool to roast tires and blast the clunky base from your shitty factory speakers. I never would have guessed that--over 10 years later--the year 2013 would prove to reinvigorate some of my first passion with the musical style. And I never would have guessed that I would be enjoying a Kanye West album. But, alas, I bow down to the cockiest of cocky rappers, whose album Yeezus is short and sweet and totally rips your throat out with its aggressive beats and angry rhymes. This is not the Kanye West that sang "Gold Digger" (thankfully). Its a completely reinvigorated and reinvented Kanye: it only takes a few seconds into opening track "On Sight" to realize this. It's quite a step, producing an album that's so ugly for a casual listener such as this, for a rapper that has compared himself to many current and past historical figures, including God himself on the track, "I Am A God". And sure, Yeezus is full of misogynistic and politically incorrect rhymes, and sometimes the lyrics are laughably simple ("Hurry up with my damn massage / In a French-ass Restaurant / Hurry up with my damn Croissants") and that's partially the reason why the album works: matched with the abrasive and distorted electronic fuzz beats, Yeezus seems like the psychotic Id of the world's most egotistical rapper, an album stripped down to his basest wants and desires.

Listen to Kanye's "New Slaves" Here.

9. Foxygen--We Are the 21st Century Ambassadors of Peace and Magic

   









   

     Foxygen is one of those bands that has a distinct trait that makes them very hard not to enjoy, no matter your musical tastes: familiarity. Building upon their short LP (released last year), Take the Kids Off Broadway (containing one of their best tracks, "Make it Known"), We Are the 21st Century Ambassadors of Peace and Magic never falls into the trap of being too "retro" for retro's sake. It sounds like a band that has been influenced by dozens of different styles: from the weed-hazed buoyancy of hippie music to thrashing acid rock to the best aspects of current pop, Foxygen surprises around every turn of the next track, like when the steady and funny "No Destruction" changes gears into the tempo-switching "On Blue Mountain". No doubt Foxygen, and specifically lead singer Sam France, have an undeniable swagger and carefree attitude that make the album's nine tracks fly by seemingly without effort--and rumors have circulated that the success of the band has been causing tension between the two main members, with France becoming a bit of a loose cannon on stage. So there's no better time to be listening to Foxygen than right now, before they crash and burn. Though they invite comparisons to The Beatles and The Rolling Stones, Foxygen have found a creative niche--experimental retro rock that gives you that ol' familiar feeling.

Watch the video to Foxygen's "No Destruction" Here.

8. Earl Sweatshirt--Doris

   
     California rap group Odd Future are only getting more popular: led by I'll-Say-Anything-For-Shock-Value Tyler, The Creator, Odd Future have become the new Wu Tang for young skateboarding kids--each member has a distinct personality and rapping style. None of them have a greater flow than Earl Sweatshirt. Doris, Earl's first studio album, cements his status as the most worthwhile member of Odd Future. Featuring production by himself, Pharrell, and RZA, Doris contains beats that trend more toward underground samples and base thumps than poppy radio hits. His lyrics and rhyme schemes are even better, and instead of relying on shocks and horror like Tyler and Eminem do more often than not, Earl's raps deal with his real-life issues--sitting on his sofa smoking weed, wondering if his father still loves him, and pondering on the success of his rap career that just began. Take his opening verse on "Chum": "It's probably been twelve years since my father left, left me fatherless / And I just used to say 'I hate him' in dishonest jest". Or listen to him show off his funny and intricate rhyme scheme on the 2nd verse of "Whoa": "On the hunt for clues, more food, and some floozy women / Bruising gimmicks with the broom he usually use for Quidditch / Gooey writtens, scoot 'em to a ditch, chewed and booty scented / Too pretentious, do pretend like he could lose with spitting / Steaming tubes of poop and twisted doobies full of euphemisms". It's this combination--Earl's delivery of flow and well-written rhymes--that make Doris the best rap album of the year, a wordplay puzzle that I keep coming back to.

Watch the video to Earl Sweatshirt's "Hive" Here.

7. Bill Callahan--Dream River

   
   
     I have a confession: I had never listened to Bill Callahan before downloading Dream River earlier this year. That's pretty incredible, because this is his 15th studio album (the 4th released under his own name--he used to record under the name Smog). If Dream River is any indication, I've been missing out: with eight songs that contrast Bill's beautiful baritone voice with incredibly vivid arrangements that feature guitars, flutes, fiddles, and congas, the album is the perfect bookend to any cold winter day as the sun slowly sets below the horizon. Callahan is a storyteller with simple lyrics that evoke America and Americana in its natural beauty and splendor. Whether the song focuses on a summer spent painting names on boats ("Summer Painter"), seasons changing and sensuality ("Spring"), or a contemplative winter ride home ("Winter Road"), Callahan is a master at slowing us down and having us take in a moment. He can be funny too, like in the opener "The Sing", when a man in solitude states that "The only words I said today...were 'beer'...and 'thank you'". Dream River is music as eloquent poetry, as a transfixing painting, as a goddamned work of art.

Listen to Bill Callahan's "Summer Painter" Here.

6. Pissed Jeans--Honeys

 
     I'm not sure if we could take music in a more opposite direction, from Bill Callahan to Pissed Jeans. If Callahan's record is good for a thoughtful and contemplative look at the simple things in life, Pissed Jeans' Honeys is the guy that walks up behind you, screams in your ear, and kicks you squarely in the nutsack, telling you to man up. A noise rock / punk band from Pennsylvania, Pissed Jeans makes music for when you feel trapped in the monotony and hilariousness of our messed up world. No punk band is worthwhile without a talented and charismatic lead singer, and that's never more true with Matt Korvette and his ear-piercing shrieks, vein-popping enthusiasm and truly funny and head smashing song subject matter. He sets his male gaze on many daily situations, no matter their importance, and shreds them with sarcasm. Feeling like he "won the Superbowl" upon hearing about the death of an office co-worker in "Cafeteria Food", sneezing because of cat allergies in "Cathouse", or staying healthy by avoiding the doctor in "Health Plan"--Korvette's shows that he's master of picking apart daily life with his noisy rock. Honeys is the 4th Pissed Jeans album, and it only feels tighter and more compact--36 minutes of music that--if you dare approach it--rewards a listener with a smile and bleeding eardrums.

Watch the (hilarious) video to "Bathroom Laughter" by Pissed Jeans Here.

5. Speedy Ortiz--Major Arcana

    
      I saw Speedy Ortiz open for Pissed Jeans at The Sinclair in Cambridge, MA, and in the days post-show I found myself thinking more about the opening band than the main act: hailing from Western Massachusetts, Speedy Ortiz is an indie rock band led by front woman Sadie Dupuis, and their album Major Arcana is an assured debut that shows that the band has major staying power in the New England rock scene. This album doesn't try to impress or show off: it's just straight up great tunes with gnarly riffs and clever lyrics. Dupuis tackles subjects with a wit and originality that is rare in the douchey indie rock scene. Take "Tiger Tank", where she states that her "mouth is a factory for every toxic part of speech I spew", or the insecurities of a young woman in "Plough": "I was never the witch that you made me to do be / Still you picked a virgin over me"--it's this vulnerability mixed with humor that propels Dupuis into a class of indie rock singers that actually add positives to the band. Supposedly, Dupuis fronts an all-female Pavement cover band called Babement, and though I'm not a fan of the band, one can't argue their status as Indie Rock Gods. Speedy Ortiz will probably never make it that high: but with Major Arcana--their first try--they're giving it their best shot.

Watch the video for Speedy Ortiz's "Tiger Tank" Here.

4. Future of the Left--How to Stop Your Brain in an Accident

     
     One day, a few years ago (maybe it was six or seven), I was randomly searching the Internet for some new music to buy. Sometimes your daily selection just seems stale, and you need something new and exciting to spice up your day. I happened upon a review of a band called Mclusky and their album Mclusky Do Dallas. That day, my life changed (and my face melted off). Led by frontman Andy "Falco" Falkous, the welsh post-hardcore band rarely left my CD player for months on end. There was a minor problem, though: Mclusky had broken up before I had even gotten into their music. Fortunately, realizing that the world (me, anyway) couldn't deal without their tasty riffs, Falco and Mclusky's drummer formed a new rock band, Future of the Left. How to Stop Your Brain in an Accident is their 4th (and 2nd best) album. Future of the Left have always had a slightly different feel than Mclusky--especially the use of a synthesizer. But Falko has always kept his trademark humor and biting aggressiveness. It's never more apparent than here, on tracks like "Singing of the Bonesaws", a humorous look at the absurdity of modern civilization, and opener "Bread, Cheese, Bow and Arrow", with Falco sneering "I'm Just a Man!" in a take on modern masculinity. Both Mclusky and Future of the Left have always been political, never afraid to share their opinions while the listener is carried by a kick-ass bass line. And Future have never been more Mclusky-ish than they are here: funny, brutal, and surprising.

Listen to FotL's "Bread, Cheese, Bow and Arrow" Here.

3. Arcade Fire--Reflektor

     How does one of the best bands of the past 10 years follow up their Grammy-Winning (not that the Grammys mean anything at all) album, The Suburbs? Apparently, by releasing a double album of 13 epic-length songs produced by LCD Soundsystem's James Murphy. When the band released the video for the title (opening) track "Reflektor" prior to the album's release, I was blown away: it was a perfect combination of Murphy's sonic skill with electronic rhythm and Arcade Fire's married lead singers' (Win and Regina) call-to-each-other lyrics, all with a relevant wink at social media. And that's just the beginning: throughout the span of both discs, over an hour of some of the year's best music comes forth. The first disc showcases the funky groove of "We Exist", the Haitian influences of the beautiful "Here Comes the Night Time", and the most-rocking "Normal Person". Disc two becomes more ethereal and expands sonically, though it still totally rocks: "It's Never Over (Oh Orpheus)" features Regina at her best, "Porno" continues a funk that's even funkier, and standout "Afterlife" is Arcade Fire at the top of their game, one of the best songs of the year. Though I doubt that I'll love any Arcade Fire album as much as their first, Funeral, Reflektor reveals that the band is not playing it safe and the direction they are heading in is an unequivocally exciting one.

Watch the video for Arcade Fire's "Reflektor" Here.

2. Savages--Silence Yourself

 
     Seeing Savages at Middle East Downstairs in Cambridge, MA was my live highlight of the year (if not of many years), and their corresponding debut album, Silence Yourself, solidified itself as one my favorites of the last 12 months only a couple of weeks after first listening to it. A post-punk band from England consisting of four incredibly talented women, Savages' debut album is fast and furious and nearly every track is a killer exercise in rocking skill. Two of the women shine in the spotlight a bit brighter: guitarist Gemma Thompson's skillful vitality propels most of Savages' songs like a The Bends / OK Computer-era female version of Radiohead's Jonny Greenwood, and singer Jehnny Beth's anarchic charm boils down to her animal-like ferociousness and lyrics that immerse you into the music rather than cause you to think too hard. Savages are not classified as easy listening: the guitars and base are forceful and fast-moving, and the percussion slams and shakes and propels the songs forward quickly (except for the three slower--yet still stellar--songs, "Strife", "Waiting For a Sign" and "Marshal Dear"). All of the elements come together best in the albums three best tracks: "City's Full", with its androgynous and sexy lyrics, "She Will", where "She" gets hooked on loving hard and forcing the slut out, and "Husbands", which completely pulverizes. Savages state that their music is "best heard loud and in the foreground". I happily agree.

YouTube videos of Savages do not do the band any justice. Here are two anyway:
Performing "Husbands" on Jools Holland
Performing "She Will" Live at KEXP

1. The Drones--I See Seaweed

     The Drones, Australia's best band, notoriously don't receive much fanfare from the Yanks in America. Their last few albums were released on an American label (most notably their 5th and 6th studio albums, Gala Mill and Havilah), but their newest, I See Seaweed, was released independently and can only be obtained through special ordering or on ITunes. It's an absolute shame: I See Seaweed's eight epic rock songs are arguably some of their best to date, and there is no music in the year 2013 that is better written or more relevant to the world that we all share. In only takes the opening line of the title (and first) track to see that The Drones are not a band with frivolous or meaningless lyrics--"I see seaweed on the lawn / There's no point coming here no more". Echoes of the world coming to end (whether by war, disaster, or global warming) have always been a prevalent force in The Drones' apocalyptic rock songs, and on their newest, it's still pushed to the forefront. The album is bookended by two of the best written songs of the year. "I See Seaweed" builds to a goosebump-inducing crushing rock explosion with its over-population theme, and closer "Why Write A Letter That You'll Never Send" is powerful enough--with its spitball lyrics that cover no less than the Holocaust, the Pope, and people not giving a shit anymore--to bring tears to your eyes. The middle six tracks are far from forgettable: two in particular, "A Moat You Can Stand In", about people standing on their high horse and spouting garbage, is brutal and pounding, and "Laika", about the first animal (a dog) shot into space, is full of loneliness and regret. Many people simply can't get into The Drones due to singer Gareth Liddiard's unique delivery and (very) thick accent. My advice: get over it. No one in music today is writing better and more relevant rock songs.

Listen to The Drones' "I See Seaweed" Here, the title track off of their new album.