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The Latest! 08/30/2009
 
Albums:
    ROSANNE CASH’S THE LIST” (Manhattan)
√ Bob Certified
     This album won’t be released until Oct. 6, but I’m so enchanted that I can’t wait to alert you to it. The roots of the collection go back to the 1970s when Johnny Cash gave his daughter, Rosanne, a list of 100 great country songs that he felt she ought to hear before embarking on her musical career. After all these years (and several distinguished albums), Rosanne has gone back to the list and recorded a dozen of the tunes—and the results are marvelous. With husband-producer/arranger John Leventhal, Rosanne gives us intimate, wonderfully tailored renditions of  tunes written by or recorded by such artists as Bob Dylan (“Girl From the North Country”), Hank Snow  (“I’m Movin’ On”) and  Jimmie Rodgers (“Miss the Mississippi and You”). To spice things up, she’s joined vocally on “Sea of Heartbreak” by Bruce Springsteen, “Heartaches By the Number” by Elvis Costello, “Long Black Veil” by Jeff Tweedy and “Silver Wings” by Rufus Wainwright. The stand-out track may be Rosanne’s striking version of Hank Cochran’s “She’s Got You.” Lots of singers try to do collections of vintage songs, but few do it with Rosanne’s authority and heart.

     Movies:

     “THE GOODS: LIVE HARD, SELL HARD”
No thanks. 

     Sometimes you win, sometimes you lose. Despite the poor reviews and even worse word of mouth, I went to the multiplex to check this out because (a) I love Jeremy Piven in “Entourage” and (b) I often find something to enjoy in the whacked-out irreverence that I saw in the preview. But please….this was so hapless that I gave up after 25 minutes. But there was a consolation prize. I slipped into another theater to catch about 90 minutes of the middle of “Inglourious Basterds,” which I had planned to skip because I didn’t want to see the bloodbath that was suggested in the previews and from Quentin Tarantino’s past work. Though I’m a big fan of “Pulp Fiction” and the two “Kill Bill” films, I wasn’t sure the mayhem would work in such a serious context as World War II. But I was thoroughly surprised. See separate review.

     “INGLOURIOUS BASTERDS” 
√ Bob Certified
 
     Leave it to formal film critics and philosophers to decide the ethical question of the Jewish soldiers’ savage revenge on the Nazis, but this a far more disciplined and (in many ways) thoughtful tale than I had imagined. Quentin has always been part brilliant filmmaker and part devilish prankster and his prankster side has often helped fuel the brilliance because that side of him gave “Pulp Fiction” such a winning, crazed and original sensibility. Here, the best parts of the film grow out of his gifts as a director (the tension in the farm house interrogation and in the basement café meeting are superbly framed and spectacularly tense). That leaves the devilish moments (including the final minutes) a bit of a distraction. But you take what you can get when a director is this good...and Tarantino is in top form for most of the 2 ½ hours. An extraordinary film.
 
Julie and Julia 08/24/2009
 
     JULIE & JULIA
It’s all in the preview.

     Why do I feel guilty for saying I wasn’t enchanted by this film—or even by Meryl Streep’s performance as culinary wonder Julia Child? Once you see in the preview that Streep has Child’s exuberant mannerisms down cold, there’s very little left for her to show us in the film itself. I found Amy Adams’ performance more interesting because Adams lets us feel her frustrations and needs as she, as Julie Powell, tries to break out of a career rut by testing all the recipes in Child’s book in her Queens, New York kitchen. Nora Ephron had to stitch these two stories together to provide enough meat for a feature-length film and the whole thing feels a few ingredients short. Exactly what is it? Comedy-drama comes to mind, but there’s not much drama unless you consider the issue of where Child’s husband’s next assignment will take the couple—or whether Powell will ever learn to poach an egg.  And comedy? What you see in the previews (again) is what you pretty much get in the film. Harmless enough, but severely undernourished.
 
 
     IT MIGHT GET LOUD
--√Bob Certified
     I was reminded while watching Davis Guggenheim’s film that one of my favorite things about being a rock critic was: the chance to hear great artists explain their creative process and feel their passion. The best thing about Guggenheim’s frequently thrilling and always illuminating documentary on guitarists Jimmy Page, Edge and Jack White is that he keeps the focus on those very areas. Despite their varying ages and musical styles, Page, Edge and White come across as brothers in arms.  It may just be one of the half dozen best films ever about rock ‘n’ roll.  Now, how about a follow-up focusing on three songwriters: Dylan, Bono and ???
 
Movies 08/16/2009
 
     FUNNY PEOPLE
Has its moments.
      Judd Apatow’s attempt to graduate from the ranks of the disarming good-fun of “The 40-Year-Old Virgin” to something more serious is maddeningly disappointing because it boasts some moments of brilliant drama and laugh-out-loud humor.  Adam Sandler shows again how comedians can be surprisingly moving in serious roles—and his scenes after learning that he may be dying are the best thing about the film. You feel every moment of his fear and rage. Seth Rogen, too, proves vulnerable and warm as Sandler’s whipping boy and friend.  But the movie spends far too much time on the combative comic psyche (especially the testy relationship between Rogen and his two comedian “pals”). It then spins completely out of control with some absurd scenes near the end between Sandler, his first love and her cartoonish husband.  The lengthy segment about those three shatters the earlier good intentions and leaves us feeling that Apatow either didn’t know what a good thing he had going or that he simply didn’t have enough faith in his material or in his audience to avoid scenes that seem little less than pandering.


     LORNA’S SILENCE
No thanks.
      You know this film by Belgian brothers Luc and Jean-Pierre Dardenne is an “art house” release because Lorna’s goal in working with some small-time crooks is to simply get enough money to open a boulevard snack bar. Hollywood movies would have the crooks out to score millions. The film does a nice job of taking us into a gritty milieu, but it’s hard to see why critics are so excited about “Lorna’s Silence” that the Metacritic score is 84, just 10 points behind a truly great film, “The Hurt Locker.” The characters here are so sketchy that it’s hard to care about the twist at the end. And it doesn’t help that the movie is ever so slooooooooooooooooow.


     THE PROPOSAL
      Even before seeing the woeful Metacritic scores on “The Proposal” (48) and “The Ugly Truth” (24), the previews made these films look so contrived that I figured I’d pass. But there wasn’t anything else I wanted to see the other night so I gave the films the multiplex challenge. When there are two films that appear this marginal, I go into the theater thinking I’ll stay with one film as long as it holds my interest, then switch to the other film. I don’t feel guilty because I paid $11 for about 85-cents worth of pop corn and soda—and besides I won’t see all of either film.
     The surprise was I got caught up in “The Proposal”—the story of an overbearing female boss who “orders” her ambitious male assistant to marry her so she won’t be deported to her native Canada. The film moves along nicely and boasts solid performances by Sandra Bullock, Ryan Reynolds and nifty veteran Betty White. Part of the charm is the film is that it doesn’t try to hide its cotton candy undercoating. But things started drifting at around the 40 minute mark and I slipped into “The Ugly Truth,” which was already in progress. I knew enough from the preview to pick up the plot right away (another battle of the sexes) and the whole thing was so shallow and clumsy that I couldn’t take more than 10 minutes. So, I returned to “The Proposal.”
     After “The Ugly Truth,” “The Proposal” seemed downright charming—reminiscent in places of the kind of screwball romantic comedy that might have paired Grant and (K) Hepburn in an earlier age. There are some boneheaded scenes, but there is also something sweet at work as well. There’s not enough that is memorable about “The Proposal” to recommend, but if you’re in the mood for something light, you may find it engaging.  


     A WOMAN IN BERLIN
--√Bob Certified
     This deeply disturbing and complex film is no more a story about what happens to women in wartime than “The Hurt Locker” is just a story about the Iraq War.” Director Max  Färberböck's longish (nearly two and a half hours) work is set in  Berlin in 1945 just after  Soviet Union troops arrive and the soldiers’ treatment of women is so savage that you may wince even though you know the women believed in a Nazi regime that killed millions at home and abroad.  The central character is a woman whose form of self-defense is deciding to go after a high-ranking Russian officer, a compromise on both parties’ sides that opens the story to conflicting questions of honor,  surrender, duty,  expedience and sacrifice.  It’s not as consistently inspired as “The Hurt Locker,” but the film’s immense ambition and unrelenting fearlessness make it the second great film of 2009. 
 
 
Books

     Ian Halperin’s “UNMASKED”  (SSE)
No Thanks
     How could it not be a best seller? Halperin, the author, got a lot of Internet buzz going last year by predicting Michael Jackson would be dead in six months—and the prediction proved to be just ONE DAY off. Halperin’s supposed to take us inside Michael’s real world in this “investigative” report.  Unfortunately, he spends most of the book going back over child molestation cases (eventually concluding that Michael was innocent, which should be of cheer to Michael fans.) But the brief portion of the book devoted to Michael’s final days comes across as just a lot of ranting and raving about secret adult male lovers and drugs, little of it convincing or illuminating. Don’t even think about buying it. 

    Michael Jackson’s “MOONWALK”  (Harmony)
No Thanks 
      In the interest of full disclosure, let me say right away that I worked in 1984 with Michael on the first version of this book—which he wanted to be a photo book with captions, whereas the publisher wanted it to be a revealing autobiography. Michael hated the idea of an autobiography because he didn’t want the public knowing about his life. He thought the more mystery surrounding him the more the public interest in him. After a showdown between Michael and the publisher, I was off the project and the publisher brought in a ghost writer (Stephen Davis, who wrote a celebrated book on Led Zeppelin) to finish the project. Though the book finally came out and was a national best seller, it offered almost no insight into Michael. In fact, I long thought it had been put together by Davis simply reading old Jackson clips. But Stephen has since said he did interview Michael for the book, but admits it reveals little. In a recent interview, he said the book was, essentially, “a very, very expensive press release.” Michael disliked it so much he refused to let the publisher print more copies after the initial press run of 500,000 copies was exhausted. It’s only coming out now because Michael is no longer around to block it.

 
Albums

      Steve Earle’s “TOWNES” (New West) 
Has its moments.
       The strange thing about this album is that the original, basic versions of these songs (just solo guitar and vocals) versions of these marvelous Van Zandt tunes sounds more intimate and compelling to me than the versions of  the songs which feature additional voices and instrumentation. The regular, single-disc version of “Townes” includes the dressed up tracks. To get the unadorned versions, you need to pick up the limited l, two-disc deluxe edition. Among the songs is Van Zandt’s most celebrated work, the wistful “Pancho and Lefty,” and unusually graceful “To Live Is to Fly.”

    John Fogerty’s “THE BLUE RIDGE RANGERS RIDES AGAIN” (Fortunate Son/Verve)
Has its moments.
       Fogerty’s 1970s solo project, “The Blue  Ridge Rangers,” was a wonderful opportunity to see one of rock’s greatest figures pay tribute to some of his favorite country, R&B and gospel songs, and this long-awaited follow-up is in the same tradition—only this time John is backed by a band and some guest vocalists, including Bruce Springsteen and Don Henley. The collection (due in vinyl on Aug. 25 and in CD and digitally on Sept.1.) includes some unexpected choices of material, including John Denver’s “Back Home Again” and Rick Nelson’s “Garden Party,” along with other tunes more in line with the earlier Rangers collection: John Prine’s “Paradise” and the Kendells’ hit, “Heaven Is Just a Sin Away.” A highlight is when Fogerty and Springsteen take the role of the Everly Brothers on Phil Everly’s “When Will I Be Loved.”

    Various Artists’ “SUN GOSPEL” (Bear Family) —
√Bob Certified
     Because Sun Records founder Sam Phillips discouraged his greatest discoveries, including Elvis Presley and Johnny Cash, to record spiritual music, it has been assumed that Phillips didn’t like gospel music. But, as this retrospective shows, Phillips loved gospel music—he just didn’t think he could market it. This CD contains 31 gospel recordings from Sun’s vault, most of them rarities, as well as a previously unreleased, inspirational recitation by Phillips. Among the artists showcased in the package: Elvis, Cash, Jerry Lee Lewis and Charlie Rich. These tracks make you wish Phillips, who died in 2003 at the age of 80, had recorded more gospel music because he aimed for the same character and individuality in these sessions as he did in his more celebrated rock, country and blues efforts. 
 
Movies 08/06/2009
 
IN THE LOOP
Has its moments.
     Starts off ablaze, thanks to a high level British government strategist’s foul mouth rants…but the topic (bureaucratic bungling) is too easy a target and there’s ultimately not enough cleverness or satirical bite to keep the picture moving. File under: good, but not essential.  

(500) DAYS OF SUMMER
√Bob Certified
     This is a wonderful film that casts a wide net: it’s for anyone who is in love or has ever been in love or ever wanted to be in love. Pretty much covers everyone, right? Zooey is just irresistible, so imagine the heartache ahead for the guy who falls for her even though she says she “only wants to be friends” and really means it. A delight every step and the music’s cool, too.
 
My TiVo List 08/04/2009
 
SCROLL BELOW FOR MOVIE REVIEWS (“The Hurt Locker,” “Whatever Works”), ALBUM REVIEWS (Raising Sand, the Dead Weather) and WEBITES REVIEWS (Metacritic). Coming soon: BOOK REVIEWS. 

MY TiVo LIST
     Here are some of my favorite weekly (or less frequently) series. To keep the list manageable, I’ve excluded daily shows whose timeliness makes them less suitable to TiVo. The list is alphabetical and includes some series currently on hiatus.

     I also TiVo lots of sports events so I can start watching them an hour into the game or match—thus skip through the commercials and, even, parts of the games if they are dull. Try it, it works.

     I enjoy all the shows, but a couple are still on probation. The best get a √Bob Certified stamp of approval.

      Are there good shows I’m missing out on?  Just click on the comments link above for suggestions or any comments on the shows on the list.

     All-time favorite drama shows: The Sopranos, The Wire, Deadwood. Comedies: Bilko, Seinfeld (I bought the DVDs so don’t TiVo the show any more), and the Honeymooners.

 
BIG LOVE (HBO)—√Bob Certified
     I couldn’t warm up to this tale of polygamy and gave up on it after two episodes during the show’s initial year. But Los Angeles Times TV critic Mary McNamara convinced me to give it a second try when she wrote at the start of the series’ third season: “If there’s a better written, better acted, more originally conceived show on television, I defy you to name it.”  I soon became so caught up in the show that I went out and bought to first two seasons on DVD just so I could catch up. It’s a remarkably affecting look at family, faith and fanaticism.

BREAKING BAD (AMC)—√Bob Certified
     As unlikely as the concept seems (a high school chemistry teacher starts a meth lab to help finance his cancer treatment), “Breaking Bad,” created by Vince Gilligan, has proven to be a consistently engaging series. The emotional terrain is wide—giving us moments both manic and touching. Fine cast led by Bryan Cranston.

ENTOURAGE (HBO)—√Bob Certified
     One reason I keep checking out this wickedly funny tale of Hollywood ambition and vanity is that I hope the brain trust behind the show really go for broke one week and introduce us to Ari’s brother in the White House.

THE HONEYMOONERS (WGN)—√Bob Certified
     This classic sitcom about the Brooklyn bus driver and his sewer-worker neighbor and lodge brother is a half century old, but it remains one of the funniest TV shows ever. Jackie Gleason and Art Carney are as great a comedy team as Laurel and Hardy. Favorite episode: “Chef of the Future.”

IN TREATMENT (HBO)
     Gabriel Bryne and Dianne Wiest are marvelous, but you may not care about all the patients that parade through Bryne’s psychiatric office. Last season, I only cared about Mia, the flirtatious former patient, and Walter, the humbled business titan. So, I only recorded three of the five nights (the third was when Bryne dishes out his problems to his own analyst, Weist). I just didn’t care about listening each week to the other patients’ woes.

MAD MEN (AMC)—√Bob Certified
     This series was on the screen before the nation’s financial meltdown, but there’s something about the unprincipled nature of these New York ad executives from the 1960s that speaks to the ruthless and greedy businessmen whose actions cased the bailout. From Jon Hamm to Robert Morse, the cast is outstanding.

MASTERPIECE MYSTERY (PBS)
     There’s something about the slow pace and gently unfolding plots that makes the best of these mysteries enchanting. My favorites include “Foyle’s War,” “Hercule Poirot,” “Inspector Lewis” and, especially, “Inspector Lynley.” The new “Miss Marple” is just too slow.

MEET THE PRESS (NBC)
     This was “can’t miss” TV when the late Tim Russert was the host because he was able to draw something interesting out of even the most stodgy politician. David Gregory is doing well as the new host, but he can’t carry the show the way Russert did, so my interest rises and falls depending on the guest.

THE MENTALIST (CBS)—√Bob Certified
     It’s not fair to say Simon Baker, the charismatic star of this light hearted mystery/state police series, is the whole reason to watch because he’s got a likeable cast supporting him, but he lights up the screen as much as anyone has done on network TV in years.

MONK (USA)—√Bob Certified
     Starring Tony Shalhoub as the San Francisco police department consultant with the compulsive-obsessive behavior disorder and the uncanny knack for solving crimes, “Monk” reminds me of the casual storytelling and good humor of “Columbo.”

THE NO. 1 LADIES’ DETECTIVE AGENCY (HBO)—√Bob Certified
    Jill Scott, the soul singer, is nothing short of sensational as the No. 1 detective in this series set in Botswana.  The cases aren’t really what you tune in for—the show’s appeal is in the way it conveys cultural sensibilities in a far distant land.

NURSE JACKIE (Showtime)-- √ Bob Certified    
     Edie Falco, from “The Sopranos,” is a wonder in this often funny, but sometimes grim series in which Falco, in the title role, tries to deal with the stress of life in an understaffed big-city hospital without losing her compassion for the patients—and finding enough energy and emotion left over to take care of her family.

THE OFFICE (NBC)—√Bob Certified
     After loving the original British edition of “The Office,” I didn’t think this U.S. spin-off had a chance, even though you should never bet against anything with Steve Carell in it. But the show has been consistently entertaining, sometimes spectacularly so.

30 ROCK (NBC)—√Bob Certified
     Here’s another show I gave up on after two episodes in its first season, but Tina Fey was so delightful as Sarah Palin on “Saturday Night Live,” that I gave it another chance—and I am hooked.  Fey is one of those TV stars that you just can’t help liking and rooting for, and she’s got a terrific cast to back her up in this spoof of network TV life. Especially winning: Alec Baldwin, Tracy Morgan and Jack McBrayer.


Shows recently tested but DROPPED from the TiVo schedule:

DROP DEAD DIVA (LIFETIME)
   This show about an airhead model reincarnated as a portly, brainy lawyer had its initial charm but it eventually felt like a show running in place with nowhere to go.  Each weeks' payoff (a feel-good court victory) isn't enough to hold your interest.

EASTBOUND & DOWN (HBO) 
     Will Farrell is executive producer of this story of a crude, dimwitted loudmouth who was fallen a long way from his days as a major league pitcher. He’s back home, but still acting like the star. Two weeks was all I could take. Painfully obnoxious.

HUNG (HBO) 
     Gave up after two episodes of this story about a struggling high school teacher using his biggest personal asset to turn his life around.

WEEDS (Showtime)
     Here’s where I finally part company with the Times’ Mary-Mac. The show’s been on for years, but I didn’t get around to it until this season. Mary-Louise Parker was fun for a couple of episodes of this story of a mom walking on the wild side, but the whole thing just seemed ultimately a little too lowbrow and superficial.