The Change-Up Review

"The Change-Up"
Release Date: August 5, 2011
Directed by: David Dobkin
Screenplay by: Jon Lucas and Scott Moore
Rated: R for pervasive strong crude sexual content and language, some graphic nudity and drug use.
Review by: Sean Kayden

As the race continues for the best comedy of the summer, “The Change-Up” may just be the one to hold the throne. While this illustrious status might appear to be grand in nature, one must bear in mind that it’s not like it was going up against stiff competition. Any specific elements that seemed to be lacking in “The Hangover: Part II”, “Horrible Bosses” and “Bad Teacher” (nothing in that film worked at all), is touched upon (at times half-heartedly) in “The Change-Up”. It went for more crudeness than “Horrible Bosses”, it provided more consistent laughs than “The Hangover: Part II” and did everything better than the ill-conceived “Bad Teacher”. The plot of the movie is far from original. It’s about two best friends that live entirely different lifestyles and magically switch bodies after announcing to one another that they wish they had the other’s life. Jason Bateman plays Dave Lockwood, a straight-laced, successful lawyer and father of three. He doesn’t spend all that much time with his wife these days and it has a put a bit of strain on their marriage. Ryan Reynolds portrays Mitch Planko, a single, sort of loser-ish ladies man. It’s briefly shown that he has a stressed relationship with his father, played by Alan Arkin. It is due to the fact that Mitch never grew up and lacks any true responsibilities or motivation. In any event, after a night of drinking (never entering “Hangover” status-like), Dave and Mitch decide to urinate in a fountain. Once they recite the same lines about wanting the other’s life simultaneously, the whole city has a rolling black out. The following morning, they wake up in the other’s body. This occurs within the initial fifteen minutes and after that, the energetic pace of the movie dives into outrageous, ridiculous, and absurd terrain. However, it’s sort of endearing and sentimental too. It’s a wildly uneven ride, but that’s why it kind of works.

The electrifying comedic performances of Bateman and Reynolds are what make the movie become lifted from pure mediocrity. It’s fun to watch these guys playing the type of character the other one usually plays. We’re so accustomed to Jason Bateman playing the same, straight-laced character, such as the one from his beloved TV series, “Arrested Development”. Reynolds is usually the fratboy, too cool for school sort of guy, but plays the reserved and more responsible type. It’s actually refreshing to see if you’re a fan of these two actors (such as I am). Surprisingly so, the supporting women characters were written quite well. Leslie Mann and Olivia Wilde don’t feel like stock women characters for the men to merely just play off of. They are independent, believable and have real personalities. Director David Dobkin, best known for “Wedding Crashers”, is able to get everyone on their A-game. He keeps things wild and unrestrained, but knows (majority of the time) not to go too overboard. However, he probably used a little more CGI than necessary. I guess the new thing for nude scenes is CGI nipples. Hey guys, kind of shame, isn’t it? As I digress, Jon Lucas and Scott Moore, the team behind the first “The Hangover”, wrote the screenplay. They certainly know how keep things fun and vibrant. The script’s pace is swift and generally funny, but not everything here is a success. Sometimes the jokes go a little too far for a laugh and the gross out humor in the beginning may be a turn off for some. There are a lot of F-bombs and while most seem appropriate, the overwhelmingly amount could have certain individuals turned off by it. In the third act, the movie wanders into the obligatory life lesson segment. While we perceptively know where it’s heading, it does however, genuinely feel valid getting there. Needless to say, it does it a hell of a better than the atrocious “Bad Teacher” set out to accomplish.

It’s possible to write off “The Change-Up” as a Hollywood manufactured movie. The premise is as old as dirt and certain plot points seems to be sugarcoated. Strangely enough, the movie is far better than what it is on paper and simply based on the trailer alone. It’s a traditional story kicked up a few notches with its ribald dialect, raunchiness, and distasteful humor, but it actually comes together relatively well. The performances are spot on and that’s credited to Bateman and Reynolds’ ultra strong comedic sensibilities. “The Change-Up” easily provides the most laughs of any of the R-rated comedies this summer. It’s risky and takes chances the other films seem to avoid on doing. While it’s far from perfect and has its share of problems, it’s ultimately satisfying in the way a summer comedy should be.

Grade: 3.5 out of 5

Published on August 13th, 2011 by Mountain Views News.
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The Disheartening Endless Summer

By: Sean Kayden

What do the movies “Transformers: Dark Side of the Moon”, “Green Lantern”, “Cars 2”, “The Hangover 2”, “Bad Teacher”, “Pirates of the Caribbean: On Stranger Tides”, “Cowboys & Aliens” and “The Smurfs” all have in common? Well besides performing gangbusters at the box office, the aforementioned films were all panned by critics. “Cowboys and Aliens” and “Bad Teacher” currently hold scores of 44% on RottenTomatoes.com, making them the best reviewed of the bunch. Sad, isn’t it? Even ones that received generally favorable reviews such as “Thor”, “Super 8”, and “Horrible Bosses”, in my humble opinion, were flawed and offered very little emotionally. More or less, they were run of the mill and middle of the road affairs. Maybe I’ve become jaded at my age, but I’ve grown immensely tiresome of superhero movies (unless Chris Nolan is at the helm), comic book flicks and just simple dumb action films. Without a doubt, this has to be easily the most disappointing summer movie season in quite awhile. As far as I’m concerned, I’m not sure if any mainstream movie has really stood out. Of the eleven movies I mentioned, eight of them were either a sequel, based on a toy (and a sequel), based on Disney theme park ride (and a sequel), based on a comic book or based on a television show. “Super 8” was original, but borrowed heavily from earlier Spielberg films. I felt that it didn’t achieve the greatness it promised. “Horrible Bosses” and “Bad Teacher” were at the very least original comedies. However, “Horrible Bosses” was funny in parts, but the laughs were inconsistent and the story at times felt too formulaic. Personally, I can’t speak negative about “Bad Teacher” since I haven’t seen it. Nonetheless, it’s from the same guys who wrote the movie “Year One” a few years ago. That alone scared me off. At any rate, without the recent success of R-rated comedies, who knows if these two movies would have even seen the light of the day at all?

It shouldn’t go without mentioning that there have been a few movies this summer successful both critically and financially. I did not see “Kung Fu Panda 2”, but with a score of 82% on RT, it must be all right. Then again, was it just another unnecessary sequel? “Harry Potter and The Deathly Hallows Part 2” finished at an unprecedented 96% on RT. Not only was it the best-reviewed movie of the year, but the most successful financially too. The box office figures come at no surprise since this is the most successful film franchise ever. “Bridesmaids”, the female version of the “Hangover”, did way better than expected. It was surprisingly humorous at times despite dragging on just a bit toward the finish line. Now personally, my favorite mainstream summer movie was “X-Men: First Class”. The chemistry between James McAvoy and Michael Fassbender was unequivocally rock solid. Director Matthew Vaughn easily reinvigorated and brought new life to an arguably worn out franchise. After the let downs of “X-Men: Last Stand” and “X-Men Origins: Wolverine”, the X-Men series seems to be yet again looking promising.

On the indie side of the spectrum, the true breakout movie is without doubt “Midnight in Paris”. It’s been deemed Woody Allen’s best film in years while both critics and audiences are fully embracing it. Sadly, I still haven’t seen it, but plan to. Besides “Midnight in Paris”, no other indie movie this summer has had the same magic. “Everything Must Go” (Will Ferrell), “Hesher” (with Joseph Gordon Levitt, Natalie Portman and Rainn Wilson) and “The Beaver” (Mel Gibson’s audacious return on screen) failed to make much of a dent at the box office. Reviews for all three were mixed to positive. However, “The Beaver” was overwhelmingly underrated. I wouldn’t be surprised if it caught some heat when it’s released on DVD/Blu-ray this month. Unfortunately, the little guys (the indies) received no love during a crowded, bloated, and oversaturated summer movie season.

So, what’s there to look forward to until the end of summer? Is there truly anything to anticipate? I remain cautiously optimistic, but I feel that the best days do lie ahead. These days just so happen to fall under the autumn movie season though. Anyway, as for the independent side of things, we’ve got “The Myth of The American Sleepover”, “Another Earth”, “Bellflower”, and the much buzzed about “Attack The Block”. Moving over to the mainstream side, will “The Change-Up” (writers of “The Hangover”) and “30 Minutes Or Less” (director of “Zombieland”) be able to stand out from the other recently successful R-rated comedies? Can “The Rise of the Planet of the Apes” turn out to be a worthy origins story? Will writer/producer/visionary Guillermo del Toro deliver the goods on the remake of “Don’t Be Afraid of the Dark”? We’ll also find out if “Fright Night” was a necessary remake too. Lastly, can “Our Idiot Brother”, another R-rated comedy with a little more drama than the other comedies be able to find love with critics and audiences? I hope the end of summer movie season will refurbish us with some refreshing sounds because the season thus far has been abundantly frustrating.

Published on August 6th, 2011 by Mountain Views News.
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Five Summer Songs You Need To Hear

By: Sean Kayden

Airship – “Kids” – UK newcomers, Airship, sound like seasoned veterans. Their first single, “Kids” provide lively paced drums, low guitar riffs, and verses that augment into electrifying choruses. “Kids” is the just the right song for the summer. Fresh and invigorating, Airship may be the remedy you’re looking for in 2011. This explosive and intoxicating new track is a promising indication of what their full-length album may sound like when it debuts this fall.



Cut Off Your Hands – “Buried” – Cut Off Your Hands recently released their sophomore album, “Hollow Out”, which features the beach-y, foggy, plenty of reverb gem, “Buried”. It’s a pleasant and multi-layered sound that’s quite the directional change for a band whose debut album was fairly loud and recurrently rambunctious. The band seems to be taking a note or two from fellow New Zealanders, Crowded Houses. And why not throw in The Smiths and Beach Boys for good measure. With a colossal line-up of the aforementioned influences, how could you not wanna take a peak inside? Nostalgia, anyone?

Here's a music video off their latest album.



The Echo Friendly – “Same Mistakes” – “Same Mistakes” is a darkly coated tune with dual vocals (female and male) and reminiscent of the band, The XX. Although the least sounding summer song off the list of songs here, The Echo Friendly may supply the substance you need heading into autumn. This 4-piece rock band has abandoned their former sound and seems to be heading into mysterious terrain. Given the straightforward and honest lyrics, “Same Mistakes” may just be the emblematic song for the thirty something year olds who haven’t grown up or have no desire to do so anytime soon. The band will be releasing a new EP later this year and despite whatever transitional era you may be in, The Echo Friendly could ultimately wind up as your guiding light.



Real Estate – “It’s Real” – Ridiculously breezy and perpetually catchy, Real Estate have released “It’s Real”, the first single off their sophomore album, “Days” due out on September 27. “It’s Real” has squeaky-clean guitar riffs, wistful melodies, and remains positively upbeat. It’s short and sweet at less than three minutes long. The song floats on so effortlessly with such a crisp sound and summery vibrations. This season provided us with surprisingly strong albums, but the upcoming fall releases look to take it one step further. I’m no doctor, but Real Estate appears to show no symptoms indicating a disappointing follow-up record this fall.



Mona – “Teenager” – Nashville rockers Mona are creating major buzz. Their self-titled debut LP is due out in September, but a sneak preview EP recently dropped this month. “Teenager” starts off like a vintage Kings of Leon tune, but quickly explodes into what may become the signature sound of this young and seemingly ultra talented group of musicians. Their entire EP sounds utterly fresh and tight for 2011, yet at the same time encompasses a worn out feel to it. From the looks of it Mona is bringing good old-fashioned rock and roll back into the forefront (where it belongs). I wouldn’t be in the slightest bit surprise if Mona becomes the premier rock band in 2012.



Published on July 30rd, 2011 by Mountain Views News.
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Seapony - "Go With Me"

Artist: Seapony
Album: Go With Me
Label: Hardly Art
Release Date: May 31st, 2011
Review by: Sean Kayden

Go With Me is the dreamy, simplistic and melodic oeuvre from newcomers, Seapony. Originally from Seattle, this 3-piece band consists of songwriter Danny Rowland, vocalist Jen Weidl and bass player Ian Brewer. Actual drums are non-existent, but in its place is a vintage synthesizer/drum machine. Seapony’s debut record is composed of seamless fuzzed-out guitar melodies, reverb vocals, and beats from the aforementioned drum machine. The songs are hazy and wistful, but sometimes the lo-fi vocals make it difficult to decipher the lyrics initially. Often times you don’t know when a particular song starts or ends. Majority of the tracks are under three minutes and nearly all of them have similar arrangements and chords. Go With Me is a completely chilled-out record that doesn’t require all that much from the listener. Personally, I’m fine with that as long as you’re in that particular mood. If you seek higher meaning, take heed to another audible outlet.

Like many summer indie albums pouring in by the dozens, Go With Me is idyllic and gentle. It’s the quintessential bedroom music played in the background of other things you are attending to. The twelve tracks fly by while it may be a good thing if you become tiresome of the same sound for 35 minutes. At the same token, if you dig the first track or two, you’ll most likely be content on how the rest of the album plays out. It’s a breezy and uncomplicated listen from start to finish. Seapony’s sound is surf rock meets noise-pop. Songs like “Always” and “With You” feel like they were recycled off Beach Fossils’ debut record. The best comparison to another band they sound like is Best Coast (also with a female singer). Both bands suffer from not having all that much variety in their respective songs. However, there’s no argument that the tunes on Go With Me are lovely and cheerful, but don’t expect any songs to be grounded into your head after completion. Truth of the matter, you’ll probably have a difficult time remembering which song is which because of the overwhelming resemblance each consecutive song has to one another.

At the end of the day, Seapony isn’t going to change you, but that’s just it. The expressive charm behind Seapony’s debut record is simplicity. The lyrics are lucid and the arrangements seem nearly identical in most songs. Despite the lack of diversity, Go With Me still delivers given the genre it’s coming from. It’s a sweet and carefree record that’s ultimately very likable. If you’re a fan of the effervescent pop rock complexion like myself, Seapony is definitely worth checking out. The replay value on Go With Me may not be present like other standout albums from this year, but played here and there should be just the right medicine. Like all good remedies, once you get too used to it, there’s really not much more need for it.

Key Tracks: “I Would Never”, “Blue Star”, “What You See”, “Where We Go”
Grade: 7 out of 10.

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Published on July 23rd, 2011 by Mountain Views News.

Horrible Bosses Review

"Horrible Bosses"
Release Date: July 8, 2011
Directed by: Seth Gordon
Screenplay by: Michael Markowitz, John Francis Daley and Jonathan Goldstein
Rated: R for crude and sexual content, pervasive language and some drug material.
Review by: Sean Kayden

This summer has shown us that R rated comedies are all the rage. So far, The Hangover II, Bridesmaids, and Bad Teacher have been financially successful. The same will go for Horrible Bosses, I’m sure. While Horrible Bosses was far from horrible it felt overwhelmingly pedestrian. This high concept/low brow flick had a promising premise, but didn’t fully travel into the dark terrain it well could have. There are a few big laughs spread throughout the film, but consistent it is not. The cast seems to be having a lot of fun and for the most part it’s entertaining to watch the likes of Jason Bateman, Charlie Day and Jason Sudeikis screw up royally over and over again. The majority of the film’s strong points are credited to the chemistry between these guys. Basically, Horrible Bosses is continually hit or miss, but unfortunately the misses are more apparent.

The setup is that Bateman, Sudeikis and Day all hate their bosses with a passion. After a night of drinking and the appearance of an old comrade, the very idea of just killing off their bosses is brought up. Soon after that night these guys seem to have no other choice, but act upon that crazy impulse. Couldn’t they just quit their jobs, you say? Well, it’s not that easy. They all have specific reasons why they can’t merely walk off the job. The reason for Day’s character is pretty funny, I admit. As for the other guys, it’s fairly standard given their adverse situation. So who are these horrible bosses, anyway? The vicious Kevin Spacey plays Bateman’s boss. Spacey’s character is a colossal a-hole with absolutely no sense of humor or lightheartedness. Bateman is deemed his personal “bitch” and is going to be stuck at his humdrum job for the long haul. Jennifer Aniston, a complete psychotic and sexual predator of sorts portrays Day’s boss (for the record, I wouldn’t be complaining). Her character is crass and crude, but at the very least, a welcoming departure from Aniston’s typical goody two shoes persona. Lastly, we have Colin Farrell (with a comb over, I might add), playing a cokehead tool that’s taking over his father’s business. He’s utterly unabashed, but I found the thought of his character funnier than he actually ended up being. Farrell’s character is ill prepared to run his father’s business and uses the profits for coke and Asian hookers. The dude is living the dream, but for Sudeikis, his job at the company is in jeopardy since Farrell is running it into the ground. Spacey, Aniston, and Farrell seem to find pleasure with their ridiculous characters, but at the end of the day, any laughter you’re about to have will surely come mostly from the three leads.

For good measure, Jamie Foxx is thrown into the mix. He plays the “murder consultant” to the three guys. While he doesn’t have a lot of screen time, Foxx nails it. He even has a ludicrous and uproariously funny name (with a back story) to boot. You’ll also find out about his “nasty” past that landed him in prison for ten years. Director Seth Gordon doesn’t restrain his cast, but I still find him to be a bit green (given that this is only his second feature film). The writers (three in all) had a fairly original concept to work with, but opted to become a distant cousin to the Hangover series. Then again, can you really blame anyone trying to do that these days? Anyway, Horrible Bosses had the on-screen pedigree to be preposterously amusing. While it treads into that territory briefly, overall, I found the big laughs to be scarce. The premise was absolutely solid and the build-up too, but the execution was slapped together half-heartedly. I found the story to be a bit contrived in places and I’m really not 100% sure how I felt about the way act three played out (especially with Spacey’s outlandish actions). At the end of the day, Horrible Bosses is an adequate comedy to please most moviegoers. But for guys like myself (that tend to have high expectations for high concept comedies), I walked away from Horrible Bosses with merely a smirk on my face rather than a big, goofy, ecstatic smile.

Grade: 3 out of 5

Published on July 16th, 2011 by Mountain Views News.
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The Verdict Is In And I Do Not Object

Review by: Sean Kayden

Who says lawyers can’t have fun? This summer, both TNT and USA network look to be kicking off the excitement in the most unconventional, unabashedly way possible. Each cable outlet debuted their freshman law shows, Franklin & Bash and Suits, respectively last month. Both shows, while treading in the same terrain, have something innately unique and refreshing about them. Granted, one may say why watch two shows with similar vibes? Well, the pilots for each series were considerably strong and easily among the best with the inclusion of Showtime’s Shameless this year. If you’re like me, you find it difficult to resist witty, clever and genuinely humorous dialogue within the confines of the buddy comedy genre. Franklin & Bash and the guys from Suits are a few charismatic dudes I’d chill with any day of the week. With them, the party seemingly never eases up. And since it’s summer, I’m perfectly fine with that.

Franklin and Bash tell the story of two budding lawyers who play by their own rules. Breckin Meyer portrays Jared Franklin, the too-cool-for-school, self-assured party boy. However, he’s more about doing the right thing than just merely racking up the victories in court. Mark-Paul Gosselaar depicts Peter Bash, the slightly more mature, grounded legal partner of the two. The two together are a bro-force to be reckoned with. Things drastically change for them when a big law firm, headed by the eccentric Stanton Infeld (Malcolm McDowell), recruits the two best friends soon after they display unusual, but convincing tactics in court. The first episode was uproariously funny. While often jocular and airy, there was just something unequivocally charming about the show. The two leads are perfectly cast in their roles and significantly play well off one another. The courtroom drama is merely a backdrop for this wickedly funny dramedy. At its core, Franklin and Bash simply specialize in the ridiculous. And at the same token, it’d be ridiculous on your part not to tune in.

Suits plays the drama card a little more than F & B. Although, that gives Suits the edge for creating more emotional depth. Plus, on occasion, you’ll find razor-sharp humor. Mike Ross (Patrick J. Adams) is a lethargic but an extremely bright college dropout with a photogenic memory that has allowed him to pass the bar exam without attending law school. He has immeasurable potential, but has never truly utilized it in the finest way. Harvey Specter (Gabriel Macht), one of Manhattan's best lawyers and self-proclaimed #1 closer in New York, hires Ross as his new associate after being completely impressed with him and his story. Problem is, Ross never went to Harvard (the firm only hires Harvard grads) and the two must keep it a secret. Honestly, the situations that arise in Suits feel to have more at stake than ones in Franklin & Bash. For the character, Mike Ross, the viewer can sympathize for him more because he’s a good guy, who is close to his ailing grandmother and he sincerely cares about the well being of others. Suits may appear to be less “fun” than the other guys, but they make up for it effortlessly with realistic scenarios, intelligent writing and avoid the same beat-for-beat story structure found in consecutive episodes of F & B. Even with only three episodes in the bag, I’m confident to say that these are a pair of “suits” you’d actually want to be friends with.

Look for Franklin and Bash on Wednesday nights at 9pm on TNT and Suits on Thursday nights at 10pm on USA.

Published on July 9th, 2011 by Mountain Views News.
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Vetiver - "The Errant Charm"

Artist: Vetiver
Album: The Errant Charm
Label: Sub Pop Records
Release Date: June 14th, 2011
Review by: Sean Kayden

The fifth album from Vetiver is a strong showcase in music progression. The Errant Charm is a concoction of solid songwriting, lush melodies and washed-out aesthetics. There’s an innate charm and allure to this record. It’s the ideal compilation to be playing while lying in one’s futon on a hazy sunny day. Since that’s the case, little work is required for one to soak up the tunes, “Worse For Wear” and “Hard To Break”. Such beauty and blithe best describe the aforementioned songs. The Errant Charm will take you on a journey without ever realizing you were actually on one. It gently guides you to serenity. There are rarely any surprises with Vetiver, but they constantly deliver what you want and possibly need. However, tracks like “Ride Ride Ride” and the closer, “Soft Glass,” slightly weave off the road a bit. Despite those minor calamities, you’re still left with an accessible album that has considerable depth.

“It’s Beyond Me”, the lengthiest track from the album, starts things off in a promising fashion. It’s definitely a suitable preview to the adventure you’re about to embrace. However, it’s the few sequential tracks that standout from the rest. As I previously mentioned, “Worse For Wear” and “Hard To Break” are dazzling in every way. These songs either symbolize relationships on the fade-out or receiving second chances. “Fog Emotion” is a leisurely sort of tune that has the aptitude to put one in a reflective frame of mind. The spirit of the song is both tranquil and insouciant. While it may be the simplest tune off the album, it’s the one to put you in the best kind of mood no matter of any type of darkness trying to enter your life. “Faint Praise” feels a bit out of place on this particular album, but there’s no denying its stunning beauty. It’s an airy, atmospheric, and ambient track that’ll have you become lost within your own thoughts. It’s a deeply satisfying dream song minus the requirement of needing to fall asleep to experience the vivid imagery discovered within.

The Errant Charm is an undeniably strong demonstration of effective lyrics accompanied with breezy and swirling arrangements. It’s not a masterpiece by any measure, but the record effortlessly displays Vetiver’s most admirable strengths as a group. There’s definitely a lot to enjoy here if this type of music persuasion is your thing. It may not fully captivate one entirely, but the superior songs off the album will certainly ease your distressed disposition. Even if it’s only temporary, it’s still more than what most songs can do these days.

Key Tracks: “Worse For Wear”, “Hard To Break”, “Fog Emotion”, “Faint Praise”
Grade: 8.0 out of 10

Published on July 2nd, 2011 by Mountain Views News.
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