"Smashed" - Review

Directed by: James Ponsoldt

Written by: Susan Burke and James Ponsoldt

Rated R for alcohol abuse, language, some sexual content and brief drug use

Release Date: October 12^th, 2012

Review by: Sean Kayden

“Smashed,” tells the cautionary tale about a young married couple who share a mutual connection to music, laughter, and drinking…especially drinking. The film, shot in just one month, first premiered at the 2012 Sundance Festival. It’s a very small human story and how the effects of alcohol have on people in all areas of life. While nothing expressed on the subject matter was entirely innovative, it was the small, intimate moments in the film that were great. However, those are few and far between while sometimes the film kind of just flows at steady, tame stream instead of erupting into anything wild and rampant. The lovely Mary Elizabeth Winstead gives a superb, genuine, and breakthrough performance as the protagonist. If anything, her acting prowess is worth the price of admission.

Winstead portrays Kate, an affable 1^st grade teacher who is struggling with her alcoholism (something she doesn’t think is a problem at first). Her husband, Charlie played by Aaron Paul, is an online music journalist that stays home all day writing and you guessed it, drinking. He doesn’t really see his drinking as a problem because frankly it doesn’t have the same negative effect on him, or so he likes to believe. Things start to unravel a bit when Kate vomits in front of her class and the kids inquisitively ask her if she’s pregnant. Without knowing how to answer them sincerely, she fibs by saying yes. She lets the lie carry on, which ultimately is going to be a problem. Mr. Davies (Nick Offerman), the vice principal, knows Kate was drinking (from a flask) prior to class as he spotted her doing so in the school’s parking lot. He confronts her about it, but doesn’t squeal on her. We soon find out this seemingly straight-laced middle-aged man is 9 years sober. He extends his hand out to Kate after things get worse with her extracurricular activities at home with her husband. He suggests accompanying him to AA. With slight trepidation, Kate attends the meeting and it ultimately becomes the first day of her new life. She forms a stronger friendship with Mr. Davies as well as finds a sponsor that’s super supportive. All is seemingly well, but things at home begin to deteriorate.

This was James Ponsoldt second feature film, which he co-wrote with Susan Burke. It’s a fine effort on his part coming from a script that has some weak spots. What really elevated the screenplay came down to the casting. Winstead isn’t going to be nominated for an Oscar, but she should score a much-deserved Independent Spirit Award nomination. She’s absolutely terrific as a young woman trying to save herself from self-destruction. Aaron Paul, mostly known for playing Jesse on the TV series “Breaking Bad,” is solid in this too. He really shines at the end in a deeply moving scene that leaves the viewer somewhat melancholy on their way out of the theater. Overall, I found “Smashed” to be decent and driven from mediocre to better than average with its wonderful lead actress, tender moments, and flashes of humorous lightheartedness. At any rate, the only thing that didn’t make sense to me was how Kate was having the most fun when drinking, but when she stops, it takes a toll on both her personal and professional life. Maybe happiness is neither found in recklessness or pure serenity. It could be that everyone needs to find middle ground between the spectrum of careless and carefree. “Smashed” is something like that, a middle of the road movie that is a reasonably commendable excursion, but the ride could have been so much more worthwhile if the pit stops along the way were extraordinarily out of the ordinary.

Grade: 3.5 out of 5

Published by Mountain Views News on November 3rd, 2012
http://mtnviewsnews.com/v06/htm/n44/p10.htm

FIVE SONGS TO DOWNLOAD THIS MONTH

By Sean Kayden

Chad Valley – “Tell All Your Friends” - Lush melodies buried within a tropical heaven,  “Tell All Your Friends” is one of eleven gems you’ll find on Chad Valley’s debut record, “Young Hunger” due out on Oct 30^th, 2012. What very well could be the future of R&B, one-man show Hugo Manuel delivers a vibrant listening experience that trickles with sentimentality and glittering arrangements.  Soaked with tender electronic beats and an 80s vibrancy, “Tell All Your Friends” is the ideal fall song—soft and mellow, but just enough haze to get you lost in the music without ever wanting it to end.

Letting Up Despite Great Faults – “Take My Jacket, Pauline” - Unite the fuzziness of shoegaze and the tranquility of indie dream-pop and you’ll have, “Take My Jacket, Pauline,” the new song off the album “Untogether.” The sleepy but sweet sound of the foursome band is pure euphoria for the ears. Once again, we have a band taking bits and pieces from 80s British pop and 90s alternative rock to craft their own distinct resonance. For fans of M83 and The Pains of Being Pure At Heart, Letting Up Despite Great Faults navigates through the depths of daydreaming and ultimately reaches one’s own emotional core with their reflective lyrics and swirling melodies.  “Untogether,” the self-released sophomore LP was released just a few weeks ago. Be sure to seek this one out, people.

Peace – “Your Hand In Mind” - While this band is too influenced by an 80s sound, it’s by a different breed of groups than the first two bands on this list. More in vein of Joy Division and Gang of Four, Peace is a four-piece post-punk group that hails from the British Columbia. With the accessible pop-induced tune, “Your Hand In Mind,” the band channels The Smiths more so than other influences. However, don’t take the band for carbon copies. They bring a certain edge and new flavor to the scene that is quite lacking. Furthermore, their second LP, “The World Is Too Much With Us,” oscillates between a razor-sharp punk rock existence that dabbles with dark and ominous tones to a largely less intruding sound that makes the listener at hand never put off by the atmosphere, but also never expecting anything ordinarily dull.

Tamaryn – “Afterlight” - Girl/guy dream-pop duos are flooding the indie scene, but that doesn’t mean they’re all alike or equally as good. Tamaryn (which is the name of the female vocalist hailing from New Zealand) and her collaborator Rex John Shelverton combine the likes of shoegaze and psychedelic. While the most notable similarity draws from their influencers like Cocteau Twins and Slowdive, however, the most contemporary band they share a common sound with is Beach House (another female/male twosome). “Afterlight,” which comes directly from the band’s second album, “Tender New Signs” is a slow, utterly beautiful showcase of haunting vocals and a rich, fully layered sound with a hypnotic array of churning guitars. Tamaryn has the true ability to pull you in deep and even an easier time keeping you there.

Lord Huron – “Lonesome Dreams” – Right from the get go, there is this jovial, optimistic sound that plays when you first start listening to this track. When the lyrics kick in, you notice they’re a bit on the reflective side. They describe an adventure with no destination in sight because we’ve all learned by now it’s about the journey, anyhow. Lord Huron hones in on folk-pop aesthetics but messes around with it enough to develop a truly unique style to call their own. “Lonesome Dreams” shares the name of the band’s debut LP and after two low profile EPs, Lord Huron has burst onto the scene with a majestic, entirely enchanting introduction full length record. As for the song I’ve mentioned here, it will please any fans of Fleet Foxes and My Morning Jacket, but newcomers should feel free to enter the arena as well. Ultimately, you too will become enthralled with the band’s western resonance, their vivid storytelling and that supreme feeling of conquering anything that may be standing in your way while listening to each and every song of theirs.

Published by Mountain Views News on October 27th, 2012
http://mtnviewsnews.com/v06/htm/n43/p12.htm

SEVEN PSYCHOPATHS Review

Directed By: Martin McDonagh

Written By: Martin McDonagh

Rated R for strong violence, bloody images, pervasive language, sexuality/nudity and some drug use

Release Date: October 12^th, 2012

Review by: Sean Kayden

“Seven Psychopaths” is the second feature film from writer/director Martin McDonagh (“In Bruges”). The crime/comedy film has its moments and it’s humorous in bits and pieces, but after a strong opening half, it tends to lose its way a bit in the second half. When watching a movie like this, you really need to suspend your disbelief as well be cool with such implausible events. McDonagh definitely tries to stray away from clichés and conventional setups, but sometimes those things work for a reason. While he may seem a bit more daring with his sophomore film, the entire storyline feels flimsy and too loosely strung together. Sure, the performances are a joy to watch and there is originality and creativity to commend, but if you’re looking for substance and plausibility, you won’t find all that much here.

The movie stars Colin Ferrell as Marty, a struggling screenwriter trying to finish (mostly start) his latest project called “Seven Psychopaths.” The always reliable and stand out performer of the bunch, Sam Rockwell, portrays Billy Bickle, Marty’s best friend. Billy, sporadic, optimistic, and downright goofy is an unemployed actor, who moonlights as a part-time dog thief. His partner-in-crime is Hans (Christopher Walken), a 60-something year-old religious man with a dark and vicious past. Billy wants to help Marty with his screenplay, but Marty isn’t too keen on the idea. Hans, in the meantime, visits his wife at a cancer ward. Billy ends up kidnapping a Shih Tzu. However, we soon find out this isn’t any old Shih Tzu, but one belonging to Charlie, a gangster with issues played by Woody Harrelson. Charlie’s henchmen find out about Hans being in the dog kidnapping business. They seek him out one day as he is returning another dog to his rightful owner (for the reward). When they take him back to the warehouse where Hans and Billy keep the dogs, the Shih Tzu isn’t there, but Marty is after getting kicked out of the house by his girlfriend (a completely wasted role for actress Abbie Cornish) for calling her a “bitch” in front of all her friends at her own house party the night before. Marty knows the dog they’re looking for is at Billy’s house, but Hans, who is just meeting Marty for the time, tells him not to say a damn word. Marty, a self-proclaimed pacifist doesn’t like violence and is about to spill the beans before a mysterious man, with a mask covering his face walks in and kills the two bad guys. The man leaves behind two jack of diamond playing cards. This character is shown in the first scene of the movie, killing two unrelated bad guys in an undisclosed area. All we know about him is that he was in the newspaper and Billy told Marty to use this character for one of his “seven psychopaths.” After the mysterious man does his thing, Hans and Marty meet up at Billy’s house, where they figure out their next move. Obviously, we’ll reach a final showdown with the three men and the gangster. There are a few things that take place between then, something involving Hans’ wife, a “self-described psychopath”(Tom Waits) wanting to share his story with Billy (who posts an ad in the LA Weekly calling for all psychopaths to share their stories that may be included in a screenplay) and a Vietnamese priest seeking vengeance. With all these whimsical things going on, the fun level is kept high, but it overstays its welcome. The main storyline, with the kidnapped dog, suffers as the film heads into the third act.
     Don’t get me wrong, the cast is wonderful, especially Rockwell, who seems to continuously steal the show in every movie he appears in. However, there really isn’t much backstory to the characters (except for Hans). We have no idea how Marty and Billy became best friends or how Billy and Hans ever got together in the dog kidnapping business. I feel the movie was more concerned with quirky moments, fun one-liners, and non-conventional resolutions rather than a having solid, thought out plot. It goes without mentioning that the three female characters were utterly wasted and contributed truly nothing for the film. It wasn’t any of the actresses’ faults, but they just had barely any noteworthy material to work with. When the dust settles, “Seven Psychopaths” ends up being a decent time at the theater. There’s not a lot of replay value and it’ll probably have more of a cult following than a massive reception. Honest opinion, just wait for Netflix or the Blu-ray to catch this one at home.

Grade: 3 out of 5

Published by Mountain Views News on October 20th, 2012
http://mtnviewsnews.com/v06/htm/n42/p12.htm

Sun Airway - "Soft Fall"

Artist: Sun Airway

Album: Soft Fall

Release Date: October 2nd, 2012

Label: Dead Oceans

Review by: Sean Kayden

     In 2010, Sun Airway released their stunning debut album called “Nocturne Of Exploded Crystal Chandelier.” However, in spite of what the pretentious appellation may convey, the album itself was an ethereal but lively infusion of electronic and dreamy pop rock. With a significant task at hand to follow up with another great album surely poses the question, does the band have any artistry left over? The short answer is yes. While the genre has been beating to a bloody pulp by the multitude of bands tying to find the success of electronic aficionados Animal Collective and M83, Sun Airway has always struck me as a band that was never trying to replicate any sounds of bands before them. They simply have a deep predilection for lavish synths, fuzzed out beats and ambitious pop songs, which shouldn’t be held against them for any reason. 

     Main player Jon Barthmus’ singing is loose and somewhat lackadaisical sounding. The Chris Martin-esque vocals are peaceful and pretty. The sounds of Sun Airway are really easy-going, which often leads to songs whizzing by without realizing a song ended and a new one has started. That’s not to say the songs are fast paced, but if you multi-task while listening, you may not even become conscious of the song change. Barthmus’ singing has always seemed to take a backseat to the music, but with the sophomore record, “Soft Fall,” it doesn’t feel entirely secondary all the time. Between the two albums, the differences aren’t too noticeable at first listen. On repeated listens, I discovered Sun Airway honing their craft more so than ever. While the debut was a rapturous experimental treat, the follow up record sounds more like a band feeling at ease inside their skin. Instead of feeling like newcomers to the party, Sun Airway is now hosting the shindig. The songs here have this fragility stitched to them as if each song is cautious and attentive. From the distance, Sun Airway may enthrall you with its warm sound, but when you come closer, you’re not as likely to feel the same way. It’s still pleasant to the ears yet the tracks just flow right pass you if you don’t pay close too attention. 

     Most songs here need frequent listens before you can get close to them. While no song really stands out like a sore thumb, the consistency of the album is fairly superb. The compilation feels like one complete set of songs rather than random songs strung together to make an unrelated, disconnected record. While things may be difficult for Sun Airway to breakthrough with the masses since the genre is overpopulated, at the very least Sun Airway has originality, creativity, and integrity to boot. Overall, “Soft Fall” is a pretty damn good sophomore album. It may have not hit the same highs of the first record as much as I would have liked it to, but I can respect the noble effort. I think I’ve would have preferred an album not limited to its restraints, but concerned with pushing even further. Perhaps next time Sun Airway will expand their rich alluring sound to the fullest because I still believe the very best is yet to come. 

Grade: 7.7 out of 10

Key Tracks: “Close”, “Laketop Swimmers”,  “Soft Fall” “Black Noise”

Published by Mountain Views News on October 13th, 2012
http://mtnviewsnews.com/v06/htm/n41/p12.htm

Lord Huron - "Lonesome Dreams"

Artist: Lord Huron  

Album: Lonesome Dreams

Label: IAMSOUND

Release Date: October 9^th, 2012

Review by: Sean Kayden

     The aptly titled Lord Huron’s debut album really strikes a cord with the American people. In the age we live in, lonesome dreams are ever so apparent. “Lonesome Dreams” is a vast, ambitious, poignant piece of music. It echoes along the borders of Fleet Foxes with its harmonies, but they shouldn’t be restrained to just sheer comparisons. While Lord Huron may not be completely treading new ground, they’re at least carving their own path. It seems we’re all figuring how to do so and “Lonesome Dreams” may just be the soundtrack that leads you down it. There is this alluring attribute, a wistful sound that magically spans over the course of the 10-track album. The dreariness of long days and sleepless nights are alleviated thorough this tranquil resonance. It’s the epitome of a true American album and while the revelations exposed may not be all that new, it doesn’t mean they are any less true. 

     There is this sort of “western” vibe implanted into the album. I can’t help but not to envision a cavernous landscape where you’re free to roam to wherever you’d like when listening to Lord Huron. The deep, but new age folk sound is probably why I feel this way. The themes of immortality, impending doom, and helplessness blues can be discovered here, but also the whimsical cheerfulness in songs such as “Time To Run.” The record, an even keel of optimism and perennial caution, remains embedded in the blood that pumps out the veins of this album. Each time I listen to a song over again, I find something new, something worth mentioning. For example, “End of the Earth,” is about taking that leap of faith and seeing where you end up. “What good is livin' a life you've been given, if all you do is stand in one place,” permeates through one’s soul because it’s true and we should all believe in this statement.  

     “Lonesome Dreams” arrives at the ideal time of the year. It still hums along to a buoyant summer resonance, but also unequivocally finds itself in the melancholic autumn season. Once again, there is this perfect balance to the album. While every little sound, nuance, lyric, and sentiment may not work every time, the effort alone deserves praising nonetheless. Singer-songwriter Ben Schneider, the man behind Lord Huron, audaciously steps outside the box that everyone else seemingly jumps into these days. With this hovering layer of hope and idealism on “Lonesome Dreams,” it’s becomes a place where the heavy hearts, dreamers, and un-conformists can meet and unite as one. 

Grade: 8.2 out of 10

Key Tracks: “Ends of the Earth”, “Lonesome Dreams”, “The Man Who Lives Forever”, “Brother (Last Ride)” 

Published by Mountain Views News on October 6ht, 2012

http://mtnviewsnews.com/v06/htm/n40/p09.htm

END OF WATCH Review

"End Of Watch"

Written & Directed by: David Ayer

Release Date: September 21, 2012

Rated R for strong violence, some disturbing images, pervasive language including sexual references, and some drug use

Review by: Sean Kayden

     The dog days of summer may be upon us, but that doesn’t mean we have to settle for the summer leftovers at the Cineplex. End Of Watch, written and directed by David Ayer (Street Kings, Harsh Times) is a shocking, often gruesome portrait of sex, drugs, and money in the nasty streets of LA. The movie follows the lives of two police officers as one of them films their daily routines and adventures through LA for his film class. When the two police officers pull over someone for a routine traffic infraction and discover money, drugs, and guns, they unknowingly become a target for the Mexican cartel as they’ve interfered with their operations. What separates End Of Watch from previous police films is how the cops here are shown as the “good guys”, not shady, dishonest, and corrupt. Secondly, the entire film is shot in documentary-style, with handheld, steady cams attached to most of the actors. With this particular style of filmmaking, Ayer is able to bring a completely visceral and often surreal experience for the viewer. You feel as if you’re right there with them in a ride-along. Speaking of ride-alongs, both leads, Jake Gyllenhaal and Michael Pena went through intense and grueling training for their roles. Both thespians took their roles seriously and wanted to provide authentic performances as their portrayal of two hardcore street cops. Films about cops over the last few years have suffered from clichés and tedious pacing like last year’s stiff “Rampart” and the dreadful 2011 Sundance dud, “The Son Of No One.” Even Ayer himself has had a few missteps within the world of police officers after writing his masterpiece, “Training Day.” However, this time around, Ayer has rebounded in making not only the best cop film arguably since “Training Day,” but also one of the best films of 2012 period.

     Jake Gyllenhaal and Michael Penn are partners in the LAPD as well as best of friends. Their friendship is stronger than anything and they would take a bullet for one another. Pena plays Mike Zavala, a husband and new father, who seeps into his role effortlessly. Zavala is fierce, but loyal. He doesn’t back down to anything or anyone. He’s the guy you want by your side when things get heavy and out of control. At the same token, he provides many of the films comedic parts as well as arguably being the emotional core of the movie. While Gyllenhaal may be the most recognizable actor in the movie, Pena’s performance is his absolute finest. The long time supporting character is definitely due for some recognition and with this turnaround should be considered for a best supporting actor nod. Not to be outshined, Gyllenhaal, who’s a fine actor in his own right, gives what I call the performance of his life as officer Brian Taylor. He’s perfect in the role and the chemistry both he and Pena share on screen is phenomenal. These guys and their daily heroics enthrall you, even if the two guys never feel or consider themselves as being heroes. Between the action, chummy dialogue, and police procedures, there are the love stories. You have Zavala becoming a father to the woman he’s been with since high school. Taylor becomes involved with a woman named Janet, played by the lovely Anna Kendrick. These scenes show the men out of their uniforms, their strong bond to one another, and the normal lives they attempt to lead. While sometimes these external sequences may interrupt the flow of the action, they do supply the audience with the realism of their existence. If anything, it makes the film more authentic.

     In all honesty, there’s really nothing I can say negative about this film. Maybe the only quarrel is the central storyline being a bit light. The storytelling structure is unlike most films. Instead of some huge story arc, there are random, daily events happening for the partners. After I think about it, Ayer does do something different with putting much of the focus on the cops rather than the “bad guys.” You know the villains are ruthless. They may not have much of a personality besides being evil and to get invested in their lives would unnecessarily expand the film too much. There are a plethora of other films you can view to see the why bad people make bad choices in the first place. Anyway, without a doubt, the audience will be distressed by some of the images they’ll witness. The final scenes are brutal, haunting, and will knock the wind out of you. There is one curious decision Ayer makes in the closing scene. When you think the movie is about to conclude, there’s one more little anecdote to tell. While it may not appear entirely pertinent, it does, however, leave you a bit happier than you just were merely five minutes before. Ayer’s decision to do this is somewhat bold and unpredictable. But everything Ayer does is here is bold and unpredictable. End of Watch is the real deal and arguably the first great American film of 2012.

Grade: 4.5 out of 5

Two Door Cinema Club - "Beacon"

Artist: Two Door Cinema Club  

Album: Beacon

Label: Glassnote

Release Date: September 4^th, 2012

Review by: Sean Kayden

     “Tourist History” was a buoyant, lively, and stunning debut from the young Irish band, Two Door Cinema Club. The band garnered praise from both supporters and most critics to make the transformation from under-the-radar players to full fledge all-stars. Now nearly two and a half years later, the three-piece pop-rock band find themselves trying to reinvigorate their 2010 sound. It pains me to say that after a solid introduction, Two Door Cinema Club can’t figure out which direction to head. While the listener may enjoy some pit stops along the way, ultimately, their second LP is an aimless exploration that’s sorely unrewarding.  Maybe it’s the sonically polished, yet tiresome pop sound that merely just doesn’t do it for me anymore. Whatever the case may be, “Beacon” is the epitome of the sophomore slump.

     The reason why this effort seems to wander and be disoriented is the sheer fact that the band has stated how “Beacon” begins where “Tourist History” left off. Instead of a brand new story, we’re just getting another chapter of the same old narrative. At just shy of forty minutes, the record is relatively short, but feels lengthy because some songs are simply flaccid. Despite some heavy emptiness, there is the occasional song or two that has you remembering just why you were a fan of Two Door Cinema Club in the first place. One of these songs is “Settle,” a slower and more heartfelt song for a band with a partiality to frenzy type arrangements. “Settle” is a rare song off “Beacon” that demonstrates the group’s artistic talents aren’t simply one-dimensional, but dynamic and multifarious. Following in tone as well as track order is, “Spring.” The aforementioned tune is another lovely and mellower resonance. If only Two Door Cinema Club had more songs like these then maybe this new album as a whole would be completely fulfilling. The first single, “Sleep Alone” sounds like something off “Tourist History” but it’s immediately amicable. “Next Year” is another track that bares strong similarity to the band’s first album. There’s much to enjoy with its catchy riffs and its impeccable way of being so smooth and jovial. However, it’s one more reincarnation of something off of “Tourist History.” In essence, you like it on one hand, but soon realize the best songs are just retreading the same ground already planted two years ago.

     

     The problem with many of the other tracks such as “Wake Up,” “Sun,” and “Beacon” is how formulaic they are. There’s no “it” factor that separates these songs from the other tracks or songs from different bands competing in this congested genre. I came away discovering that Two Door Cinema Club may benefit much more with songs that are a bit dreamier and that slowly transition from mellow to fast-paced then back to a nice calm state. As far as themes go, you have the typical subjects like remaining optimistic despite heartbreak. While the songs remain mostly upbeat and positive throughout, there are shades of darkness in lyrical choices. Two Door Cinema Club are a fine band, but in the end, they didn’t accomplish all that much to put them leaps and bounds above the competition. Unfortunately, with “Beacon” the band sounds like they’re imitating the imitators.

Grade: 6.3 out of 10

Key Tracks: “Sleep Alone”, “Settle”, “Spring”

Published by Mountain Views News on September 22nd, 2012
http://mtnviewsnews.com/v06/htm/n38/p11.htm