[Review] Phantogram: Voices
Due to the overwhelming amount of electro-pop rock outfits saturating the indie scene over the past couple years, I have had difficulty latching on to any one artist or album that I enjoyed thoroughly, not just that had a couple of catchy tracks. That being said, I have been constantly listening to Phantogram's latest album Voices on repeat, discovering deliciously desperate lyrics, alluring vocals, and knock-out beats with each go around. The more I listen, the more I like.
Josh Carter (guitar, vocals) and Sarah Barthel (keyboards, vocals) made their debut in 2009 with their album Eyelid Movies, sparking attention but somewhat living in the shadows of other electronic rock groups like Sleigh Bells. They gained more glances their way collaborating with heavy hitters like Big Boi and The Flaming Lips, but lacked a strong presence musically, almost like they were stuck in electro-pop limbo. Voices is the next step in the absolute right direction.
"Fall In Love," (the first single off of the record) is enchanting, dooming, and dance-y all in one. I literally can't stop singing the hook, which is perfectly simple in comparison to the melodic verses. And I must praise the vocal melodies on this album, so often with pop music we are presented with one or two note repetitive mutterings that march on to the chorus. But Phantogram achieves excellent song structure with compelling musical lines accompanied by tragically lovely lyrics. "The lines on my face ate away at my smile, could it be that I fell apart?"
Having two lead vocalists on a project can sometimes derail the flow or energy of an album, but when Carter popped up on "Never Going Home," I was delighted at the change of direction the album took. Stripped down and organic, the track possesses a Bon Iver/David Bazaan quality that pulls you out of the electronic heavy haze.
The album seems to teeter between reality and dreams/nightmares, with tracks like "Howling At The Moon," which gives off a very aggressive, sacrificial vibe. Barthel hollers and swoons over busy beats singing "And if I ever fall asleep I'll turn around and face the sea. And if I crucified my dreams to be on your side, to see you alive." Followed immediately by "Bad Dreams" which is less violent and more lyrical as Barthel confesses "Bad dreams never effect me I'm not afraid of the concrete... bad thoughts never arrest me, I'm just a flash in the memory." reality kicks in on the bass heavy "Celebrating Nothing," one of my favorites off the album. Barthel sings about failures and empty living, pleading for a reason to go on if there's nothing to look forward to or no one to celebrate with. "How many times will I blow it all? How many times will I burn it down? Give me a reason to stay alive."
The album pulls you through various emotions and sounds, breaking your heart and burning a fire in your brain. Voices is the complete package, each track executed flawlessly, proving the album to be the boost that Phantogram needed to land themselves at the top of the electro-pop chain. Get Voices here and be sure to listen from beginning to end.
[Review] Cheap Thrills
How far would you go to take care of your family, for a quick buck that could provide financial stability? Desperate times call for desperate measures, and Cheap Thrills is a film about desperation in two men. Framed as a "comedy thriller," E.L. Katz's film debut is a pulpy, late-night thriller that will attain a cult following. However, will that sense of appeal attract the average moviegoer? Read on and find out.
[iframe id="movies.yahoo.com/video/cheap-thrills-red-band-trailer-231043378.html?format=embed&player_autoplay=false"]
Cheap Thrills
Director: E.L. Katz
Rating: N/A
Release Date: February 21, 2014 (Movies on Demand), March 21, 2014 (Limited)
Craig (Pat Healy) is an aspiring writer facing financial troubles with his wife and young son. After finding an eviction notice and being laid off from his auto shop job, he decides to drown his sorrows at a local bar. There, he is reunited with an estranged old friend, Vince (Ethan Embry). As they catch up, they attract the attention of a married couple, Colin (David Koechner) and Violet (Sara Paxton). The couple offer low-risk dares to Craig and Vince for a few hundreds of dollars, but as the night goes on, the dares become riskier... and the money greater. Exactly how far would the two old friends go for the promise of a new life?
The four characters play specific archetypes that help move the film along. Craig is the desperate lead audiences hope to empathize with; Vince is the down on his luck, selfish ne'er do well; Colin is the abundantly rich instigator; Violet is the mysterious, silent fourth party. However, unlike other thrillers that lack any real empathy or humanity, each character displays some level of decency. For example, while Colin is the main proprietor pushing Craig and Vince to embarrass and demoralize themselves (and each other), he still has a set moral line that he won't cross. At the same time, as the bets become larger, Craig and Vince's levels of morality are slowly stripped away. The real question, then, is the money enough to lose yourself and your humanity?
Unfortunately, Cheap Thrills doesn't answer this question. While there are shallow hints at the cost of Craig and Vince's sacrifices, it's never fully analyzed. As a pulp thriller, this is somewhat acceptable; it would just have added an extra level of depth to a film that, for better or worse, is perfectly summarized by its own title - Cheap Thrills is nothing more than that. With such a promising premise, the film falls flat and doesn't live up to its potential.
One of the largest reasons for the film falling short is the film's tone. Even though it's branded as a "comedy thriller" and there are a few light-hearted moments, any sense of comedy is gone by the wayside. Rather, the film is built up with more and more exploitative scenes of desperation, culminating in a really dark ending. While this will attract horror fans, it didn't work for me. If the tone were more in line with a dark satire or had something "extra," I think I would have been more receptive to the film.
As I insinuated earlier, Cheap Thrills is nothing more than its title. There will be scenes that'll make you cringe, and horror/thriller/gore fans will love them. However, if you're looking for something with much more substance, you'll be better suited looking elsewhere.
[Review] The Tontons: "Make Out King and Other Stories of Love"
Hailing from Houston, groovy foursome The Tontons put themselves on the national radar with their brand new, soulful album The Make Out King and Other Stories of Love. Out officially today, the album has been streaming for the past couple weeks, inviting listeners to experience the buzz of The Tontons magnetic record before they can get their hands on a copy.
The band (singer Asli Omar, bassist Tom Nguyen, drummer Justin Martinez and guitarist Adam Martinez) have been together for the long haul, pumping out their seductive rock sound to everyone who would give them a chance. The Tontons don't fit into any one genre, but instead spread themselves over an array of sounds leaving you reeling and wondering how you are going to describe them to your friends.
"Our song is as random as our look. Like, you look at us and people usually don’t know what to expect or what we’re going to sound like, I think we like to keep people on their toes," Omar said during an interview with Ruby Hornet's own Jake Krez at Fun Fun Fun Fest 2013.
Make Out King comes out of the gate with the up-beat single "Magic Hour," which I believe is the best way to start off the album. This song is currently my favorite. It's surfer rock vibe eases you into the song only to blow you away with Omar's powerful, thick vocals. Her voice has a sultry rawness that reminds me of Amy Winehouse at times, mixed with a belty, strong sound of Genevieve Shatz from Chicago outfit Company of Thieves. Weird match up, I know, but oh so good.
The album plays a bit of tug-o-war between a fresh pop-rock sound and steamy, laid back, blues-y R&B ballads like "Kidd Cemetery." This song really stuck out to me because of it's sexy, cosmic sound and revealing lyrics. Omar sings "I hurt, you hurt, but it's all in fun." The album seems to be extremely personal, allowing listeners to envelop themselves in the stories. In "Bones 1," Omar sings about daunting life decisions like having children, getting a 9 to 5 and settling down almost as if she's convincing herself: "Today's not that day, I'm not that girl."
The Make Out King and Other Stories of Love shimmers, radiating strength and sadness, all the while making you want to dance. The buzz and boldness of the bass from Ngyunen, the sick dynamic riffs from guitarist Adam Martinez, and the steady super tight beats from Justin Martinez, operate smoothly with passion and precision allowing Asli Omar to wail and whisper over the tracks with deep lustrous vocals.
You can and should snag the album on The Tontons bandcamp or iTunes today!
[RH Review] Love is in the Air
The earliest part of the year always seem to be somewhat of a drag as far as cinema goes. Box offices are fueled by the lust of Valentine’s Day, and it seems that cheesy romance prevails over high quality filmmaking. However, if there is any time when the cheesiness of these types of films can be somewhat forgiven, it would be during these early months of the year when the holiday is celebrated.
Upon beginning Love Is In The Air (Amour et Turbulences), I had a lot of expectations of it being a just another corny romantic comedy. However, I had a slight hope that its French origin would give it a few interesting twists and turns here and there. Sadly, my original expectations were fulfilled. While it is definitely not the worst film in its genre, it lacks anything within the plot line in order to make it stand out from other films produced of this kind.
[youtube id="ViEiu0XrGNE"]
Love is in the Air
Director: Alexandre Castagnetti
Country: France
Release Date: January 31st, 2014
Julie (Ludivine Sagnier) is a young woman headed to the airport in order to get back to her fiancé in France. She is quite the perfectionist but has a drive to succeed with her artwork. Simultaneously, Antoine (Nicholas Bedos), an attractive womanizer of sorts, scrambles from the aftermath of a party to catch the next available flight to France. Coincidentally, he and Julie sit beside each other. The moment they lock eyes, a montage of flashbacks reveals that the two have had some sort of relationship in their past. They, while sharing their multitude of stories to passengers on their 6 hour flight, argue and reminisce on times when the chemistry was strong between them. As the sparks slowly rekindle, the pair finds themselves conflicted as to what will happen when their plane touches the ground.
As far as classic Hollywood film structure goes, this film fits right in. While it is pretty clear that those who made this movie were not signing up for anything life-changing, it seems like an effort to make this story more interesting was absolutely non-existent. The formula-ed film structure is utilized with little to no creative variation, and I must say that I could have told you the ending within the first scene. Like most romantic films, it was bland and full of situations that have been in far too many similar workings. Perhaps if they had veered a little bit off this extremely beaten path it would have caught my attention more.
I think romantic comedies set everyone's standards too high on how to live in a real relationship. As far as films in this category go, Love is in the Air was very well done. Little choices such as lighting or conditions on the airplane are well thought out for the tensions in each situation, but they don't make up for all of the convenient coincidences.
Although it only follows the classic, linear formulation for creating a screenplay, it is utilized in its best form to capture the lightheartedness that this film takes on. People love these kinds of movies because they are simple, fairly short, and make them feel really good about themselves after. It is easy to follow, and it would make for a good movie to watch on a rainy day. I can't see this being a movie to be remembered for a lifetime, but I guess it is a lot better than most creations out there.
Love Is In The Air is certainly not a film for everyone. Lacking a complex plot line or reason to think that the two main characters wouldn't end up together in any way is super ridiculous. It completely fulfilled all of the requirements in order to have it be extra corny. Nonetheless, if it weren't for its subtitles (because most Americans are usually too lazy to read them), I could see this film blowing up (unfortunately) like anything Nicholas Sparks smacks his name onto. Love Is In The Air is a cute, simple, romantic film that I personally did not enjoy just because of the cliché it perpetuates, but most normal, 20-something females probably will.
[Sundance Review] White Shadow
[Ruby Hornet will be at Sundance Film Festival 2014 providing coverage of the festival's 30th year. Keep it tuned to Ruby Hornet this week as we share reviews, interviews, photos, and more at one of the country's largest film festivals.]
White Shadow
Director: Noaz Deshe
Rating: N/A
Release Date: January 17, 2014 (Sundance)
After witnessing the brutal murder of his father, Alias is sent off by his mother to live with his uncle, Kosmos, in the city away from their small shanty town. While he hustles drivers at busy intersections to buy various wares and technological parts, Alias faces torment from those around him due to his albinism. As Kosmos faces problems of his own, Alias finds a safe place to stay in a special home for albino children... until the unthinkable happens.
White Shadow deals with the rise in albino murders in Tanzania where witch doctors would pay large amounts of money for albino limbs due to their "magical powers." The film isn't some counter-active, social commentary on the practice; rather, it paints a fictional narrative around the unfortunate realities that Tanzanian albinos face.
The main problem I had with White Shadow was how it lacked direction for the majority of the film. The beginning of the film is a whirlwind of confusion, the middle begins to take form while still being intercut with flashbacks (flash forwards? side flashes?), and the final act throws it all together in an intensely violent rush. However, as gripping as the final act is, it's not enough to make up for the confusion and slow moving of the first two acts.
The subplot involving Alias and Kosmos that made up the majority of the film began to gather steam, only to be displaced by Kosmos' own narrative arc. In a way, the two are intertwined, both narratively and thematically, as they both face an unsure future as wanted men - Alias for his albinism, Kosmos for his debt. It's a compelling duality that represents something deeper that the film could have latched on to if only it were a bit more focused and refined. As it stands, however, White Shadow is simply a shadow of what it could have ultimately been.
[Sundance Review] Kumiko, the Treasure Hunter
[Ruby Hornet will be at Sundance Film Festival 2014 providing coverage of the festival's 30th year. Keep it tuned to Ruby Hornet this week as we share reviews, interviews, photos, and more at one of the country's largest film festivals.]
Kumiko, the Treasure Hunter
Directors: David Zellner
Rating: N/A
Release Date: January 20, 2014 (Sundance)
Films affect us in the most mysterious ways. For some, we find inspiration and influence in the art form. For others, we're absorbed into the universe and fall in love with the romantic notions of a cinematic life. There's no denying the effect art has on our everyday lives, but we can't succumb into the fictional universes infiltrating our minds. Exactly how far can we allow films to affect us?
Kumiko (Rinko Kinkuchi) is a loner with no real direction in life. While the rest of her co-workers genuinely love their positions as office workers, she doesn't find the same joy out of the monotony of her day-to-day life. Even her Mother constantly rains doubt onto her, badgering Kumiko about her lack of drive and interest in marrying and starting a family. There are only two beams of light in Kumiko's life: her bunny, Bunzo, and a delusional plan to unearth the buried treasure in The Coen Brothers' Fargo. Exactly how far Kumiko lets her delusions take over could represent the turning point she desperately needs in her life, no matter the ramifications.
Kumiko, the Treasure Hunter is set up as a road film, with the first half of the film taking place in Japan and the second taking place in Minnesota. The main source of conflict in the film harkens to the ideals of the Japanese social structure and how Kumiko simply doesn't fit into it. The rigors of finding a good job, a good husband, and beginning a family at a young age carry over Kumiko's head like an unrelenting raincloud. She finds her escape through the Coen Brothers classic, both figuratively and literally, ultimately falling down the rabbit's hole on a journey that, for better or worse, is heartbreaking in how delusional her psyche really is. Kinkuchi, best known for her role as Mako Mori in last year's Pacific Rim, deftly carries the weight of the film on her shoulders, her physical and emotional vulnerability complementing her character's.
Another high point of Kumiko, the Treasure Hunter is not found in the film's plot or acting, but in its soundtrack. Indie/electronic band The Octopus Project scored the film with its airy, atmospheric music matching Kumiko's quiet journey from Japan to Minnesota. The film received a Jury Award for their Musical Score, and it's not hard to see why.
Kumiko, the Treasure Hunter is a sad character study. Every break in which you expect to find Kumiko snap out from her fantasy world is shattered whenever she makes a self-assured decision to continue on her journey. Yet, in spite of acknowledging that the journey won't end well, you can't help but cheer her on and hope that somehow, someway, there really is a treasure underneath that X.
[Sundance Review] To Kill a Man (Matar a un hombre)
[Ruby Hornet will be at Sundance Film Festival 2014 providing coverage of the festival's 30th year. Keep it tuned to Ruby Hornet this week as we share reviews, interviews, photos, and more at one of the country's largest film festivals.]
To Kill a Man (Matar a un hombre)
Director: Alejandro Fernandez Almendras
Rating: N/A
Release Date: January 17, 2014
How far would you go to protect your family? With our backs to the wall and facing a large threat, I'd imagine the answer would be, "Whatever it takes." However, not everybody can truly be prepared for the ramifications of their actions, even if it's in the name of safety and protection. In Alejandro Fernandez Almendras' To Kill a Man, an unassuming, middle-class husband and father of two is prodded and pushed to the brink until he takes matters into his own hands. However, the consequences of his actions are too much for him to bear for long.
Jorge (Daniel Candia) is a passive man who falls victim to bullying from some neighborhood scumbags led by one man, Kalule. When Jorge's son, Jorgito, decides to defend his father, things escalate when Kalule shoots him, then shoots himself to stage an act of defense. However, Kalule is sent to prison for a small period of time; upon his return, tensions escalate as he stalks and threatens the entire family until Jorge simply takes matters into his own hands.
To Kill a Man is a character study analyzing the effects a murder can have on a man. One of the most prevailing themes found in the film is the idea of masculinity and gender. Early in the film, Jorge's masculinity is ridiculed and taunted by the neighborhood scoundrels. His passive manner isn't exactly the most masculine, especially in Latino cultures. Even at his breaking point, Jorge isn't a hyper-masculine being; rather, he's still unconfident and unsure of his actions, even after the line is crossed.
As with most character studies, To Kill a Man is a quiet, slow-moving film. Because of this, there's a tendency for the film to plod and move too slowly at times. There may not be enough driving action to keep certain audiences engaged. However, those that do hang on will enjoy Jorge's journey and Almendras' exploration into the mind of a man desperate to do right by his family.
[Sundance Review] Cooties
[Ruby Hornet will be at Sundance Film Festival 2014 providing coverage of the festival's 30th year. Keep it tuned to Ruby Hornet this week as we share reviews, interviews, photos, and more at one of the country's largest film festivals.]
Cooties
Directors: Jonathan Milott and Cary Murnion
Rating: N/A
Release Date: January 18, 2014
Everybody growing up remembers cooties. At one point in time, we've all received a cootie shot after the patented "circle, circle, dot dot" prescribed to us by our caring friends. In a way, the cootie shot was a rite of passage to protect us from the other sex until, well, we began thinking about sex. However, imagine if "cooties" were real, and the virus ended up being something much much worse than getting boy/girl germs on you?
Jonathan Milott and Cary Murnion's Cooties addresses this very idea, albeit in a dark, and twisted manner. The "cooties" in Cooties are nothing more than an exaggerated result of diseases meat getting eaten by a young girl who falls ill. As her sickness manifests in something much more sinister, spreading across an entire school full of summer school children, it's up to the teachers, led by Clint (Elijah Wood), an aspiring writer who subs in for a sick teacher at his childhood elementary school, his childhood friend, Lucy (Alison Pill), her boyfriend, Wade (Rainn Wilson), and the other fellow teachers, played by Jack McBrayer (30 Rock), Rainn Wilson (The Office), Leigh Whannell (Saw III), and Nasim Pedrad (SNL), to attempt the school with two young survivor before they become another cafeteria meal.
Cooties is like a zombie film, with the zombies played solely by children. The added wrinkle is kind of fun, with a handful of current/former teachers at my screening referring to the film as "cathartic." There's something fun about seeing adults attack little kids, albeit with the added caveat of them becoming monsters. However, beyond that dark twist (and what it says about our enjoyment in seeing kids being beaned with high speed baseballs and sliced with katanas), Cooties otherwise feels very run of the mill.
While the film starts on a high note and ends on an exciting level, the entire second act of the film just drags on and halts all the progression and energy up to that point. Some of the jokes don't really stick during the second act, either. Despite a cast full of sitcom stars and comedic actors, Cooties was sorely lacking in the humor department. A minor role played by LOST's helped keep the film on a good, humorous tone, but ultimately, the laughs simply weren't there.
Cooties presented a twist to the typical zombie film, but only by a minimal margin. There's a sense of social commentary behind the outbreak, but again, it's nothing out of the ordinary that we've come to expect from the genre. It's fun, light, and could find a cult following from fans of the actor and genre, but everybody outside of those circles might want another cootie shot.