Saturday, November 11, 2006

BAT OUT OF HELL 3 BY MEATLOAF


1. The Monster Is Loose
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2. Blind As a Bat
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3. It's All Coming Back To Me Now
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4. Bad For Good
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5. Cry Over Me
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6. In The Land of the Pig, The Butcher Is King
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7. Monstro
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8. Alive
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9. If God Could Talk
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10. If It Ain't Broke Break It
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11. What About Love
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12. Seize the Night
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13. The Future Ain't What It Used To Be
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14. Cry To Heaven
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ONCE AGAIN BY JOHN LEGEND CD LIST


1. Save Room
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2. Heaven
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3. Stereo
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4. Show Me
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5. Each Day Gets Better
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6. P.D.A. (We Just Don't Care)
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7. Slow Dance
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8. Again
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9. Maxine Listen
10. Where Did My Baby Go Listen
11. Maxine's Interlude Listen
12. Another Again Listen
13. Coming Home Listen

HANNAH MONTANA SOUNDTRACK


1. The Best Of Both Worlds - Hannah Montana
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2. Who Said - Hannah Montana
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3. Just Like You - Hannah Montana
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4. Pumpin' Up The Party - Hannah Montana
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5. If We Were A Movie - Hannah Montana
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6. I Got Nerve - Hannah Montana
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7. The Other Side Of Me - Hannah Montana
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8. This Is The Life - Hannah Montana
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9. Pop Princess - The Click Five
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10. She's No You - Jessie McCartney
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Disc: 2
1. Best of Both Worlds - Hannah Montana
2. Who Said - Hannah Montana
3. Just Like You - Hannah Montana
4. Pumpin' Up The Party - Hannah Montana
5. The Other Side of Me - Hannah Montana

SANTA CLAUSE 3: THE ESCAPE CLAUSE MOVIE REVIEW


Hollywood.com Says
OK, so Santa Clause 3 isn’t the stuff classic Christmas movies are made of, but the franchise still manages to keep us warm and toasty, invoking some genuine Yuletide spirit. Hard to believe, but it’s true.
Story
The first Santa Clause had a somewhat clever premise on how an ordinary guy can become Santa Claus just by putting on the red suit, while the second Clause was about finding a Mrs. Claus. What’s the third clause? The Escape Clause, which allows anyone who is Santa the option to give it all up and become a mortal man again. Of course, Scott Calvin (Tim Allen), aka the current Santa, has no intentions of leaving the job. But his lovely wife Carol (Elizabeth Mitchell) is expecting their first child and missing home a great deal, so Scott has to juggle having his in-laws (Alan Arkin and Ann-Margaret) come to the North Pole--which he has to disguise as Canada to keep the “Secret of Santa” alive--with getting ready for Christmas. It’s kind of hectic. And throwing a huge wrench in the whole deal is the envious Jack Frost (Martin Short). Relegated as the “opening act” to Christmas, Frost wants his own gig and sabotages Scott at every turn in order to steal the job away from him. There’s no nipping at your nose with this guy; it’s all-out war.
Acting
Allen makes no apologies for his career. Why should he? He’s been moderately successful playing everyday dads in Disney comedies, displaying the right mix of milquetoast-iness and humor. Plus, as Scott/Santa, he also gets to be sentimental. I just wonder if he still wouldn’t like to do something more cutting edge? Short, on the other hand, never could find the right kind of starring vehicle for himself but instead has created some hilarious supporting characters (if you don’t believe me, rent The Big Picture). Jack Frost is another one to add to the list. The comedian has way too much fun playing the nasty ice man, with steely blue eyes, a smart--if frosty--three-piece suit and who gets to say lines like, “I invented ‘Chill!’” Mitchell (TV’s Lost) reprises her role as the sweet-as-pie Mrs. Claus, and has some nice moments with Scott. And what a surprise to see Alan Arkin and Ann-Margaret in this! They are perfect as the meddling in-laws, especially Arkin, who finds everything wrong with Scott and his “toy factory.”
Direction
Buena Vista didn’t feel it was necessary to pre-screen Santa Clause 3 for critics. They probably believe the audiences for this franchise is already built in, and they don’t need jaded critics slamming the film for being silly and meaningless. Smart. But, as much as it pains me to say it, Santa Clause 3, directed by Michael Lembeck (who did Santa Clause 2), really isn’t that awful. Yes, it’s all terribly predictable, with the schmaltz so thick you could cut it with a knife. But there’s also something surprisingly endearing about these movies. They have always provided a sort of warm, family-friendly feel without too much forced circumstances—and most importantly, they are legitimate Christmas movies--even its being released just as we are putting away the Halloween decorations. Honestly, I’d take a Santa Clause 3 over a Christmas with the Kranks (sorry, Tim Allen) any day.

NEW CD LISTINGS COMING TONIGHT


TONIGHT I WILL POST NEWS ON NEW CD THAT ARE OUT AND NEW UPCOMING CDS THAT WILL BE OUT THIS YEAR.

BORAT MOVIE REVIEW


Hollywood.com Says
Sacha Baron Cohen's untreated multiple personality disorder is our gain. Borat is one of the funniest, most original movies in not-so-recent history. But as you'll see, it's not only the comedy that is eye-opening, jaw-dropping and cringe-inducing. In summation: It huge success! High-five! Wa-wa-wee-wa!
Story
Jagshemash! (Note: Excuse please any and all Borat-isms in this review. They've infiltrated our vernacular--just like they will yours! Chenquieh.) Borat Sagdiyev (Sacha Baron Cohen), a noted celebrity and TV talking head in his native Kazakhstan, is set to travel to U.S. and A. for, well, make benefit glorious nation of Kazakhstan. With a camera crew and his show's director, Azamat Bagatov (Ken Davitian), along for the ride, Borat stops first in New York City. It is a nice! Like anyone from a faraway land, he is amazed that his hotel room is larger than an elevator and by all the peoples on the subway and by Pamela Anderson. In fact, he is so smitten after watching his first Baywatch episode that his mission has changed: He will go to California and marry Pamela and, hopefully, make a sexy time! Of course, he and Azamat will still have to cross the country--in their ice cream truck--to get there, stopping along the way in the biggest cities and smallest towns and seeing everything from "vanilla faces" and "chocolate faces" to women who get to choose their sexual partners.
Acting
If Academy voters had any "khram" whatsoever, they'd give Cohen an Oscars invite...which he'd promptly parlay into the opening scene for Borat 2. And who in their right mind wouldn't just kill to see that acceptance speech?! But I optimistically digress. Any breakdown of Cohen's inhabitance of his alter ego Borat--one of three from his beloved Da Ali G Show; he's reportedly set to immortalize Bruno, his gay Austrian fashionista from the show, next--reveals what is stealthily one of the best performance in years. Before you scoff, consider the indisputable facts: In Borat, Cohen is (a) pretending to be, if not totally becoming, someone else, and (b) has positively just one take to nail each scene, and nail each scene he does. If those don't comprise an amazing performance, in the most fundamental sense, then what's the criterion? And not to be forgotten in all that Cohen pulls off here is Borat's entire straight-faced diction--from the accent to the word usage--which audiences could appreciate more in earnest if their howls of laughter didn't overpower some of the dialogue, but who can blame 'em? Lest we forget, veteran actor Davitian (a California native!) has a hand in quite a bit of the madness as well. One of his scenes in particular will be burned into your memory for a long time to come. Oh, you'll know it when you see it--it's the one that makes a Steve-O stunt look like PBS programming.
Direction
Borat is admittedly not for everyone, because some people just don't like to laugh! In all seriousness--and more so as an obligatory disclaimer--the movie is beyond offensive and some people will walk out. But the worst thing you can do is dismiss it, even if you just skip it. Because underneath Cohen's mustache that puts Earl Hickey's to shame, his soiled suit, and his who's-gonna-know-it's-faux? Kazakh accent, the British comedian is interested not in attacking America but rather in exposing its underbelly that is rarely vulnerable--in other words, if he didn't want to wake people up with this film it would've been called Cultural Learnings of Switzerland (which still would've been pretty funny). Thus his intentions, while not necessarily educational, fall somewhere between hilarity and eye-opening satire--not vitriol. Director Larry Charles (Seinfeld, Curb Your Enthusiasm, Entourage) must have some stories to tell his grandchildren about the guerilla-style hit-and-run filmmaking that was executed, but as co-writer, star and character creator, Cohen shoulders all the onus, credit and death threats. His anonymity and privacy might take some hits, too. Speaking of which, he is indeed Jewish. Unfortunately for Cohen, however, he's not also black, mentally or physically handicapped, gay, a female, a gypsy, a Kazakhstani or an animal. Which is to say, loosen up, people! Nobody goes untouched here, least of all the man perpetrating the offenses.

A GOOD YEAR HOLLYWOOD.COM REVIEW


Hollywood.com Says
Is it good for those Gladiator dudes Ridley Scott and Russell Crowe to team up again for a romantic comedy about winemaking in the South of France? Perhaps not, but it’s a nice try.
Story
A Good Year has the makings of a pleasant, serene romp through grapevines and lovely French vistas. But while being terribly atmospheric, the story itself tends to drag on. Based on the best-selling novel of the same name by Peter Mayle, the first 40 minutes or so are somewhat engaging as we’re introduced to London-based investment expert Max Skinner (Crowe), who has gotten himself into a bit of a pickle and is being forced into an “extended” vacation in Provence. Max remembers many wonderful summers he spent there with his Uncle Henry (Albert Finney) as a child. But now the old man has passed away, and Max has inherited his uncle’s small French vineyard. He’d like to sell it straight away but then he meets lovely local cafĂ© owner Fanny (Marion Cotillard) and becomes smitten. There’s also the problem with a young American woman, Christie (Abbie Cornish), who shows up and claims she’s Henry’s illegitimate daughter. Can Max settle into what seems to be an intoxicating new chapter of his life--and drag A Good Year down with him? Of course.
Acting
Mr. Anger Management is obviously going for a gentler image with this performance, and he’s more than capable handling the job as romantic lead. But honestly, Crowe is much more effective as Max, the snarling pack leader of the financial wolves, than as Max, a sap softened by Provencal wine and women. Sorry, Russell, but playing tough (or tortured, depending) suits you better. Most of the other characters surrounding Max add nice color, all sun-kissed, country-minded and eccentric. Cotillard (A Very Long Engagement) is particularly glowing as the hardened Fanny, who has had her heart broken a few times and doesn’t want a repeat performance. Cornish (Somersault) beams as well, as the girl from Napa Valley, Calif., who knows a few things about winemaking. Actually, some of the more engaging scenes are flashbacks between Finney, as the roguish Uncle Henry, and his young nephew--played with understatement by Charlie and the Chocolate Factory’s Freddie Highmore. Too bad Highmore couldn’t have played the older Max as well.
Direction
You can see what director Ridley Scott was trying for with A Good Year. A labor of love for the director--who is good friends with the novelist Peter Mayle, as well as owns a vacation home and vineyard in Provence--A Good Year is full of astounding beauty. Scott frames the exquisite lush vistas of this southern French community with a tender, loving hand. You’ll certainly be tempted to pick up a Fodor’s guide to the area while checking online for destination prices. But the film seriously lacks the necessary narrative to carry it through. Mayle’s novel apparently reads very much like a travelogue, and screenwriter Marc Klein (Serendipity) seems to have difficulty fleshing out parts to make a more cohesive script. Most importantly, however, like Crowe, A Good Year just seems ill-suited for Scott’s more serious, action-minded sensibilities. What worked for the two collaborators in the gladiator rings of Rome doesn’t ring as true in the grape-soaked vineyards of Southern France.

STRANGER THAN FICTION MOVIE REVIEW FROM HOLLYWOOD.COM



Hollywood.com Says

Stranger Than Fiction has the pedigree to be quirkily great. For some people, that will be enough to trick themselves into loving it. But the non-fiction here is that the greatness begins and ends with the movie's marvelous title.
Story
After starting what he thinks is just another day by methodically brushing his teeth the way he always does, IRS Agent Harold Crick (Will Ferrell) gets a visit from an uninvited auditory guest--Kay Eiffel (Emma Thompson), the author of his life. Little does she know while writing a book about a character named Harold Crick that the real Harold can hear her narrations loud and clear; little does Harold know that her novels don't have happy endings--that is, until he hears it in her narration, which states that he is to die. Luckily, she's in the midst of writer's block, so he has some time to find out, well, how much time he has to live. He immediately consults a literary professor (Dustin Hoffman) who instructs Harold to further pursue a relationship with an anarchistic baker (Maggie Gyllenhaal) he is currently auditing in order to learn more about the course the novel will take. The relationship flourishes and he’s happy for the first time in a long time, but will art imitate--or end--his life?
Acting
Ferell seems to be mimicking the exact path of his direct comedic-superstar predecessor Jim Carrey, even down to his first serious-ish role: Carrey’s first dramatic foray was the equally quasi-existential, though much better, Truman Show. Ferrell has no problem whatsoever making the transition--that’s just what abundant natural talent affords certain actors. But his crossover attempt should’ve been more subtle since audiences have come to expect at least one “streaking” scene per Ferrell film. As Ferrell’s heavily tattooed love interest, the ubiquitous Gyllenhaal scores again. Fresh off roles as a stripper single mom (Sherrybaby) and a frantic, pregnant 9/11 wife (World Trade Center), she proves that no matter her character’s physical appearance or mindset, she can do no wrong. Ditto for Thompson, who spends much of the film in pajamas and the throes of writer’s block--the "writer" prototype--much to the dismay of her publisher-appointed assistant, played well by Queen Latifah. Rounding out the cast is Hoffman, whose professor isn't totally unlike his answer provider in like-minded I Heart Huckabees. His character’s quirky humor is child’s play at this point for the veteran, but a select few scenes between him and Ferrell are extremely satisfying.
Direction
To liken Stranger Than Fiction to a Charlie Kaufman (Eternal Sunshine of the Spotless Mind, Adaptation, et al) script/movie is not totally without merit. Fiction captures the “vivid yet distant” essence that is common with Kaufman’s stories and subsequent movies. But whereas Kaufman doesn’t go out of his way to coddle audiences’ minds amidst his often obtuse movies, writer Zach Helm and director Marc Forster seem to have audience appreciation (read: box office) on the brain. Helm’s idea is nothing short of genius in a way that’s different from the oft-mentioned screenwriters he’s compared to, but somewhere en route he and/or Forster (Finding Neverland) compromised the vision. Because what starts out as a complex, intriguing movie turns stale quickly, especially given the inexplicable ease with which it transitions from a metaphysical story into a straightforward one. And Forster's tendency in the movie to undercomplicate is just as detrimental as the opposite extreme. The dialogue also falls somewhat flat, often neither funny nor off-kilter enough, buoyed only slightly by superb cinematography, set direction and indie music featuring Spoon (whose frontman, Britt Daniel, reworked some of their best songs for the movie)--but we’ve come to expect that trifecta from similar movies.