DVD Review “The Yellow Sea”

Directed by: Hong-Jin Na
Starring: Jung-woo Ha, Yun-seok Kim, Seong-Ha Cho
Distributed by: Fox World Cinema
MPAA Rating: R
Running Time: 137 min

Film: 3.5 out of 5 stars
Extras: 1 out of 5 stars

“The Yellow Sea” written and directed by Hong-Jin Na is the story of a desperate Chinese cab driver who is asked to carry out an assassination in South Korea. Shortly after arriving the cab driver realizes he has become entangled in a dangerous conspiracy. If you are looking for a medium paced foreign film that will keep you guessing at every turn then pick up a copy of Fox World Cinema’s “The Yellow Sea”.

Being a big fan of Asian cinema I was quite interested in checking this film out. Director/Writer Hong-Jin Na did not disappoint. From the overall look and feel of the film to its actual content “The Yellow Sea” was a rollercoaster ride of deception.  Jung-woo Ha did a great job in the lead role and was very convincing playing a man who had nothing to lose. Seong-Ha Cho played a great villain who as the film progressive we start to see that his character is a little more than Jung-woo or us as the viewers bargained for. There were a few points in the film where you really had to pay attention as the number of characters involved and their intersecting story lines did cause a bit of confusion. This observation aside the film still had relatively good flow and progression.

The special features portion of the disc I felt left something to be desired. Here you could find the trailer as well as a sneak peak of the film along with a few other Fox World Cinema Trailers. I am not a fan of when film companies do this and list them as “extras” or “special features”. Personally if I have already chosen this movie to watch I am probably not going to spend my time watching the trailer or sneak peak’s of the film when I already have the full version of the film to watch. I understand some people do want to have these types of so called “special features” but maybe they could have at least included an interview or two with cast/crew to help beef up this section.

CD Review: Hung “Hung”

Hung
“Hung”
The End Records/ReThink Records
Producer: Andy Abel/Ryan Kelly
Tracks: 10

Our Score: 3.5 out of 5 stars

“Hung” is the debut release from the New York based progressive metal band Hung. The band consists of Dmitry Kostitsyn- vocals, Lyris Hung- electric violin, Evil Jon- guitar, Sam Roon- bass and Kenny Grohowski- drums. Together the group blends a variety of musical styles ranging from classical to full on metal. The self titled album is being released via ReThink Records which is owned by Chris Adler of Lamb of God and features 10 original tracks that were produced by Andy Able and Ryan Kelly.

The debut offering from Hung features unique instrumentation and melodic vocal passages but, don’t let the word melodic throw you though as the band is full on metal! Vocalist Dmitry Kostitsyn is part Jekyll and part Hyde in his performances which are further enhanced by the technical playing of the band behind him. Each song on the album is crafted to appeal to a variety of listeners. Songs such as “Left for the New Life” and “Sediment of War” cover so much musical ground that it almost makes your head explode just trying to take it all in. Andy Abel and Ryan Kelly did an excellent job at the production controls as they seemed to really capture each member’s performance on all of the albums 10 tracks.

The bottom line is I don’t think I can say enough good things about this album or the band. With this being the Hung’s debut album I really can’t wait to hear what’s next. Every once in awhile something new and fresh comes along and Hung are it!

Track Listing:
1.)    Eos
2.)    Desert of Sad
3.)    Maria
4.)    Progeny
5.)    Evil Tsar
6.)    Left for the New Life
7.)    Inertia
8.)    Infernal Redeemer
9.)    Matter of the Blood
10.)  Sediment of War

CD Review: Jeff Loomis “Plains of Oblivion”

Jeff Loomis
“Plains of Oblivion”
Century Media Records
Producer: Aaron Smith
Tracks: 10

Our Score: 3 out of 5 stars

“Plains of Oblivion” is the second solo release from Nevermore guitarist Jeff Loomis. The album hosts a variety of musicians such as former Megadeth guitarist Marty Friedman. The album is being released via Century Media Records and features 10 original tracks that were produced by Aaron Smith.

The new album by Jeff Loomis is more than just another progressive metal album. “Plains of Oblivion” Is an album packed full of songs that will make your head spin and your ears bleed from the sheer sonic goodness. Each of the 10 songs on the album feature creative structures that even fair-weather fans of    progressive metal music will enjoy. Tracks such as “Escape Velocity” and “Requiem for the Living” were strong personal favorites as I really loved the thunderous background of each track. Couple that with Loomis’s over the top solos and you can’t go wrong. Fans of Jeff’s other work will surely want to check this album out as it really showcases his playing on a whole new level. Guest appearances by Chris Poland on the track “Continuum Drift” and Tony MacAlpine on “The Ultimatum” were also highlights of “Plains of Oblivion”.

Though the album took a few listens through before I could fully appreciate it I found it to be a pretty good album. I would have liked a couple of the songs to be trimmed down a bit more but lengthy songs come with the territory. If you are looking for an album with some really great playing then do yourself and pick up the latest album from Jeff Loomis.

Track Listing:
1.)    Mercurial
2.)    The Ultimatum
3.)    Escape Velocity
4.)    Tragedy and Harmony
5.)    Requiem for the Living
6.)    Continuum Drift
7.)    Surrender
8.)    Chosen Time
9.)    Rapture
10.)  Sibylline Origin

Tribeca Film Festival Review “The Revisionaries”

Directed by: Scott Thurman
Producer: Pierson Silver, Orlando Wood, Scott Thurman
Featuring: Kathy Miller, Don McLeroy
Tribeca Film Festival
Running time: 83 minutes

Our Score: 5 out of 5 stars

Before seeing “The Revisionaries”, I would have been hard-pressed to identify a more noxious sound than that of a dentist’s drill at work. I now know that if the dentist behind that tool is also interrogating the patient on their thoughts on god, or badly singing “For the Bible Tells Me So” as he works, the auditory punishment is that much worse. Talk about a captive audience. It’s a perfect introduction to one of this great, often startling, documentary’s most polarizing figures, Don McLeroy, former head of the Texas State Board of Education.

Thurman’s film focuses on this small board, fifteen members in all, because as one of America’s top purchasers of high school textbooks, the standards they approve for the writing of those books dictate what the nation’s students will be reading for the next ten years. Following Abraham Lincoln’s quote, “the philosophy of the school room in one generation will be the philosophy of government in the next,” the members of the board have become increasing politicized. Particularly in the realms of science and history. McLeroy enters into the film on the side of the religious far right. A young Earth creationist since he was 29, McLeroy would swear up and down he doesn’t let his personal beliefs enter into his role in education while simultaneously insisting that “science is great, but it doesn’t deserve the plateau [sic] that they put it on”. If it were up to him he would teach kids that dinosaurs walked alongside man and rode on the ark 6000 years ago. There is something profoundly disturbing about a man with, as he described it, a “mind boggling” amount of power chanting to his followers that they must “stand up to the experts!” where education is involved. This type of disgusting anti-intellectualism continues to pervade the political debate today. Just look at failed presidential candidate Rick Santorum’s recent college-is-for-snobs rhetoric for evidence. McLeroy’s stance is backed by other board members like Cynthia Dunbar, another one who will say at the Board meetings that she’s not pushing a theological agenda, but she’ll start a State board meeting with a Christian prayer. If these peoples’ views, ignorance and downright hypocrisy are all infuriating, to director Scott Thurman’s credit, it’s not through any cinematic trickery that this impression is achieved. Thurman gives McLeroy and his cohorts plenty of screen time in which to calmly lay out their beliefs in talking head segments.

On the other side of the debate is Kathy Miller, leader of the Texas Freedom Network, an organization aimed to stop the hijacking of America’s classrooms for political gain. On her side would be the aforementioned experts such as anthropology professor Ron Wetherington and Eugenie Scott, the executive director at the National Center for Science Education. They’re tasked with having to deal with powerful board members who got there via election, not nearly as much education as the experts needed to get to their respective titles. I suppose that’s what makes them experts. Occasionally debates among the panel actually have to pause to have scientific phrases explained to board members. Thurman’s camera does a brilliant job of capturing the moments of silent shock on some of the more level headed commentators in such instances. Wetherington in particular has a wonderfully expressive face when caught off guard. These slips are in great contrast to the restraint the professor shows when dealing with McLeroy in a one on one debate that gets so overly polite it starts to rival Warner Brothers’ Goofy Gophers.

The first half of the documentary focuses on the hot button debate over evolution, with the right wing side pushing for textbooks to accentuate the “weaknesses” of a “theory.” Such petty wording will have a profound effect that should not be underestimated. For me though, the more startling debate appears in the second meeting we see regarding America’s history books. The Board actually seeks to downplay Thomas Jefferson, only the writer of the Declaration of Independence, and emphasize John Calvin in the founding beliefs of the United States. (Calvin being of the belief in predestined eternal damnation or salvation.) It’s an interesting switch for such fervent self-proclaimed patriots to propose but as said before, these people are no strangers to hypocrisy. It is worth noting that while Jefferson wrote the Declaration of Independence he’s also been quoted many times in connection to religious skepticism. Famously writing to John Adams,“The day will come when the mystical generation of Jesus, by the Supreme Being…will be classed with the fable of the generation of Minerva, in the brain of Jupiter.” Thurman does not delve into such motivations behind the voting panel’s anti-Jefferson attitude, but that was not far from this viewer’s mind.

For a film that centers largely on votes taking place in a boardroom setting, “The Revisionaries” is riveting. Particularly in the sequences regarding amendments to history books which can be swiftly proposed, rejected, reworded, and re-spun as entirely new ones at the speed of a tennis volley. Some of the phrase nitpicking and absurdity had me recalling Armando Iannucci’s brilliant political satire “In The Loop”.  Thurman’s doc is well timed too as November 2012 will see the election of all 15 spots of the Board of Education. Voter turnout for the McLeroy chair as shown in the film was only 20% and hopefully with enough exposure, Thurman’s film can rally more to chime in on this shockingly influential yet tiny group of people. It’s an important film to bring attention to a vote that might otherwise be overshadowed in this presidential election year.

Upcoming TFF Screenings of The Revisionaries:
Wed. 4/25 – 6:00pm, CCC-7
Sat. 4/28 – 6:00pm, AV7-1

Ti West talks about making this latest film “The Innkeepers”

Ti West is a name you should know if you are a fan of the horror genre. He  is known best in the genre for writing and directing the amazing film “The House of the Devil”. His new movie from Dark Sky Films is called “The Innkeepers” and is being released on Blu-ray/DVD on April 24th. Media Mikes had a chance to chat with him about that film and what he has planned next.

Mike Gencarelli: How did you come with the idea for this classic ghost story “The Innkeepers”?
Ti West: I hadn’t made a ghost story, so I wanted to do that. When we shot “The House of the Devil”, we lived in this hotel and all this weird stuff happened during that time. I didn’t think anything about it because I was just stressed about making the movie. So about a year later, I started thinking I wanted to do a ghost story and I thought to myself, what if it took place in the hotel we lived it and just went back and shoot it there. I know it already exists in Connecticut and I know there is a tax return for making movies there. It worked out well. I wrote it before asking them and then I paniced, in case they said no. Then I would have wrote a movie about a place we couldn’t shoot it. It would be writing a John Wayne movie, then being fucked cause you can’t cast him [laughs]. Thankfully, they said yes and the rest happened very quickly.

MG: Sara Paxton nailed this role, how did you get her involved with the film?
She came through the normal channels, just auditioning. I didn’t know the rest of her work. when she came in to meet, she was just so awkward, goofy and clumsy. I never would seen that coming and I found it so fascinating and charming. Then I went and watched her movies and she wasn’t like that at all. I wanted to exploit that. That made me push for her. I knew she was doing to be very relatable in the role.

MG: What was your most difficult task in making the film?
TW: This one was oddly pretty easy. Which means the next one, I will be completely screwed [laughs]. We made it so quickly, so that was hard, there was never a moment to breathe. The saying during shoot was that we were just waiting for the other shoe to drop and it was like that the whole time. It never really dropped. Maybe since I had two really hard experience before this and then “House of the Devil” was just really hard to make that movie, I think I was just expecting the worse. This was just so much easier.

MG: The film takes it slow in the beginning but delivers in the end, tell us about that tactic used in a few of your films?
TW: I don’t think about it so much. To me it just seems like the only way for me to make the movie. when its done everything uses the term “slow-burn” and I am like “really”? I understand what they mean but for me I see it as you need to have all this done to make it work, so I just do it. It is like hearing you voice on tape and thinking you don’t sound like that…but you do sound like that. I fell like that might be the way with me and the way I make movies.

MG: What do you enjoy most about working in the horror genre?
TW: It’s been good. I feel like I got a few movie in me and then I got to take a break. I don’t to start repeating myself. The last movie I wrote, I remember writing “She slowly walks down the hall” and I thought to myself, “I can’t believe I am writing this again”. What has been good for me in the genre is that I feel it is an experimental genre. Most people do the same thing over and over and I don’t necessarily like doing that. It is nice for me to make six horror movies in the last six years and they are all very different. The style is different. The stories are different. You can do all sorts of different stuff in the genre so I think that is appealing from a filmmakers perspective.

MG: How do you compare “The Innkeepers” to your past films like “The House of the Devil”?
TW: Once the past films are done, I really don’t think about them anymore. “The Innkeepers” feels like the only movie I have made right now because it is all around me. I work with the same crew already, so for me I think of it as those experience that all of us had a friend then more the content of the movie.

MG: What can you tell us about your upcoming films “V/H/S” and “The ABCs of Death”
TW: Yeah, I did those two anthologies last summer and then both come in this Fall. It’s weird, I didn’t think about myself as an anthology person but I liked the people that were working with. They told me I could get this much money and I could do out and make whatever I wanted. That is a really appealing offer. The only instructions were that with “V/H/S”, it has to be aspects of found footage and horror and that was it. I was able to cast whatever I wanted and make whatever I wanted. with “The ABCs of Death”, they gave us a letter and left me alone. We had to deliver it by this date and we had this much to do it with. It is certainly not a lot of money but if you are smart with it, it can work out well and worth it.

Neal Smith talks about Drumming with Alice Cooper and New Solo Album

Neal Smith was inducted into the Rock and Roll hall of Fame in 2011 for his role as drummer in the Alice Cooper Group. Besides working with Alice Cooper, Neal has also played with The Plasmatics and, Buck Dharma of Blue Oyster Cult. Media Mikes had a chance to speak with Neal recently about his career in the music business and his new solo album titled “Kill$mith Two”

Adam Lawton: What initial sparked your interest in becoming a solo artist?
Neal Smith: The original Alice Cooper band broke up in the 70’s. After that I played in a few different bands as well as doing an album with The Plasmatics and Buck Dharma. When I was working with Buck I co-wrote the song “Born to Rock” which got play on MTV. Through the 80’s I got interested in real estate and ended up getting my real estate license in the state of Connecticut. I kept writing over this time and worked on a couple projects. One of the projects was to play some shows in Texas with Mike Bruce and Glen Buxton from the Alice Cooper band. We brought in Richie Scarlett to play as well. Sadly 6 days after the project wrapped up Glen passed away. It was around this time that I decided to finish up a lot of things I had sitting on the back burner. In 1999 I released my first solo album. The album was originally recorded in 1975 and titled “Platinum God”. I got a great response to that album and afterwards put together a group with some friends called “Cinematic”. We were doing shows in New York City and while there I saw bands like Kings X, Pigface and Tapping the Vein. These bands were playing this really hard edge industrial metal. I liked the power of the material and wanted to come up with something that had the early rebellious image of Alice Cooper along with the macabre side. In 2008 we released the first Kill$mith album titled “Sexual Savior”. I was really inspired by all these newer bands that were beyond grunge. We just released “Kill$mith Two” a couple months ago.

AL: What do you think was the hardest part of transitioning from drummer to solo artist?
NS: I have always written. Even before the Alice Cooper Group I was a stand up singer in a band. I have always sung a little bit. I have always been very comfortable in any position even though drums are my forte. It was more of a new challenge. I jumped in over my head and learned everything I could. I had some great teachers and inspiration. Things weren’t difficult but there were some challenges. I think the biggest challenge though for me is coming up with songs that I like. I am the type of writer that writes when I am inspired. I can go for months or even years without being inspired to write a song. However when I am inspired the ideas come like a tsunami. The new album features 12 really solid songs. I don’t think there is any filler on this album. Alice Cooper and producer Bob Ezrin heard the demo for a song on the new album titled “Evil Voodoo Moon” and re-wrote it for Alice’s album “Welcome to my Nightmare 2”. The song is actually the first single off that album titled “I’ll Bite Your Face Off”.

AL: How would you describe/classify the “Kill$mith Two” album?
NS: I would say it’s definitely in the super hard rock/metal category. This album has more melodic choruses than the previous album. The new album may not be for everybody but it gave me the chance to experiment with some writing on my own and create the “Kill$mith” character. I wanted both “Kill$mith” albums to have a much darker and more macabre edge which is something I feel I was very successful at.

AL: What can you tell us about the new video you just put out?
NS: I wanted to pick a song off the album that was a musician’s song. There are a lot of great players on the album and one of those was Pete Hickey. He did an amazing solo on “Squeeze like a Python” and I wanted to feature a song that was one of the better songs that I really liked. I like to play for musicians and I think this song does that. The video is very sexy and hot. There is a fantasy element that is woven in between the verses of the song. We sort of took a classic approach to making the video. I think everyone did a great job. After having the video up for close to a week now we have received 3,000 hits. I have been amazed by the response.

AL: Can you tell us what the touring plans will be for the group?
NS: We will definitely be doing more videos. That right now is really our thrust to get the word out about the band. There has been some interest in the band going to Europe to play however nothing has been confirmed. As soon as dates start to be set up they will be posted on my website www.nealsmithrocks.com

Tribeca Film Festival Review “Journey to Planet X”

Directed by: Josh Khoury and Myles Kane
Producer: Trisa Barkman
Featuring: Troy Brenier, Eric Swain
Tribeca Film Featival
Running time: 78 minutes

Our Score: 3 out of 5 stars

Josh Koury & Myles Kane’s documentary on two friends making DIY sci-fi films in Florida has the great fortune to be debuting at Tribeca at the same time as Chris Keneally’s Side by Side (read my review here.) The latter bringing home the point that the digital revolution in filmmaking is democratizing who can get movies made while the former is a case study in exactly that.

Eric and Troy are the two men behind these films, ones that could not have existed without the advent of the consumer level video cameras as seen in Keneally’s doc. Armed with a blue screen-painted space and local talent, they churn out films under the impossibly titled Ginnungagap Filmwerks banner. Eric sees it as a fun hobby while Troy in this upcoming project’s case, is striving for something more.

The film’s central tension between the two men is Troy’s pushing on Eric to take their weekend moviemaking as seriously as he does. Such improvements include their blue screen being painted green (easier to work with on video) and Eric replacing his seven year old PC with a new iMac.

It’s an interesting documentary insofar as Troy’s ambitions for his movies to be taken more seriously does not, for better or worse, go to the extremes of say, the delusions of the men in 1999’s American Movie. Nor does the pair’s film budget pose as much of a problem. There’s one mention of Eric footing a lot of the Home Depot bills, but it’s not a make or break point of the process. The fun in watching this documentary is in Koury and Kane’s unironic, nonjudgemental approach to documenting people enjoying making something together. Despite the friends and family screening of Planet X garnering unexpected–to Troy at least–laughter, the filmmakers are pleased to bring enjoyment to any audience. At 78 minutes, it’s a nice, lightweight look into amateur movie making.

Upcoming TFF Screenings of Journey to Planet X:
Mon. 4/23 – 8:00pm, Clearview Cinemas Chelsea 4
Sat. 4/28 – 1:00pm, AMC Loews Village 7-2

Tribeca Film Festival Review “Take this Waltz”

Directed by: Sarah Polley
Producers: Susan Cavan, Sarah Polley
Starring: Michelle Williams, Seth Rogen, Luke Kirby
Tribeca Film Festival
Running Time: 116 minutes

Our Score: 2.5 out of 5 stars

In Sarah Polley’s Take This Waltz, Michelle Williams is Margot, a young married woman who is terrified to discover the hot guy she shared a seat row, and flirtatious conversation with on a homebound flight is in fact her new across-the-street neighbor David (Luke Kirby). He’s stirred something within her and she starts to question her comfortable five year marriage to cookbook author, Lou (Seth Rogen).

What follows is a very, very long string of will-they, won’t-they encounters between David and Margot. The more scenes they share, the clearer it becomes that they have more serious chemistry than Margot does with husband Lou. Married at 23, it appears that Margot and Lou have not matured past baby-talking each other. When the married couple speak in hypotheticals, it’s to play who can gross the other out more (threats include “I’m going to skin you with a potato peeler!”). When Margot and David speak in hypotheticals, it involves David describing what he would do to her body given the chance. Strong scenes like these between the illicit couple make the audience restless for Margot to either run away from Lou or completely stop David’s everything-short-of-physical advances. Her indecision is seemingly endless and the more encounters she herself arranges with David only to eventually shut him down, border on making Margot unlikeable and David weak. When Margot does make her decision, the film goes into an unexpected overtime exploring all the implications of it when the audience was really just waiting for her to make a choice.

There also are many leaps of faith one has to take when watching this film. Obviously, the odds of neighbors David and Margot’s meeting on the plane seem very slight but it’s necessary for the whole setup. However, there’s many other elements about these characters’ lives that come off as unrealistic and they pile up. Everyone seems to live impossibly outside of their means given their occupations (Margot, a wannabe writer. David, secret artist/rickshaw driver. Both, occupying large, quirky, suburban homes). For such young characters it is also odd that outside their immediate families, we don’t see them with any friends. Are Lou and Margot so repellant they can’t hang out with other couples? David especially seems to exist purely to interact with Margot and if he weren’t so perfect really, you’d call him a stalker.

If their lives seem improbable, fortunately the actors bring authentic emotion to their characters. As proven in last year’s 50/50, Seth Rogen can be amazing in more dramatic roles. Lou really has no reason to suspect anything is wrong in his marriage, so when Margot combusts in front of him while he’s cooking, his plea of “I was just trying to make chicken” is strong and heartbreaking. Michelle Williams continues to do amazing work especially so when she’s left to her own devices as on a carnival scrambler ride with David where we see her go from joyous to terrified and back. And set to The Buggles “Video Killed the Radio Star” of all songs. As David, Luke Kirby is suitably sexy and so appealing it’s hard not to root for him. If only there was more to David than an object of Margot, and this film’s, fantasy life.

Upcoming TFF Screenings of Take this Waltz
Mon. 4/23 – 7:00pm, AMC Loews Village 7-2
Thu. 4/26 – 1:00pm, AMC Loews Village 7-2

Ralph Bakshi talks about ‘Wizards” and it’s possible sequel

Ralph Bakshi is now best for his animated films like “Fritz the Cat”, “Wizards”, 1978’s “The Lord of the Rings” and “American Pop”.  Ralph is a legend in the animated world and has such a unique vision.  Media Mikes had a chance to chat with Ralph about his films and he even leaked a very cool top secret news about a possible sequel to one of his films.

Mike Gencarelli: Let’s talk about the recent Blu-ray release of “Wizards”, tell us about your involvement?
Ralph Bakshi: Fox did it all by themselves.  They can be a good company when they want to be [laughs].  They did the book by themselves, designed and remastered it.  Then they called me and told me that they were going to release it.  I nearly had a heart attack.  But I loved the picture and I think they did such a great job.

MG: “Wizards” only cost $1 million dollars and looks great, how do you feel about these polished $150 million dollar animated films today?
RB: The artists who are making these films today are so talented.  The kids today are coming out of school with this computer knowledge and its just great. I think it is all too much of the same.  I think that they focus more on the merchandising.  I think they should do something with more of a social bite or dabble in the R-rated area, if not only to do one and try and push the boundaries.   When I was doing my films like “Heavy Traffic” and “Fritz the Cat”, I was yelling at Disney for those same reasons.

MG: There aren’t too many people that are able to pull off adult animated films, why do you think that people steer clear of doing these?
RB: That is a great question Mike, let me tell you what it’s like.  Guys get the wrong impression about my R-rated films.  They think it is about sex, tits ‘n ass and cursing.  Basically what is underlining all of my films are political ideas.  In “Heavy Traffic”, Michael’s father was a racist and he had a black girlfriend.  Those are issues that far transcend the dirty words, the sex and the violence that people think that R-rated violence is all about.  I never start my animated films with trying to shock somebody.  I try to have a reason to make the film personable.

MG: A few years ago there was talk of a sequel to “Wizards”, any chance it will still happen?
RB: Well Mike, you are the first person to hear this.  I don’t know why they never made a sequel but right now, the head of Dark Horse Comics, Mike Richardson, is writing a script for “Wizards 2″. He and his partner are writing the script and he is very interested in making the movie.  I feel that Dark Horse is really the right team in order to get this project done. I will definitely read it once it is completed but I doubt I will direct, probably executive produce. I would also contribute storyboards and sketches for the film if needed. In order for it to work though, I feel that it has to also be political important with what is going on today.

MG: What would you say was your most difficult production?
RB: Well look, they were all hard.  I left the business burnt out and crazy.  Every picture I had was a massive fight.  Like with “Fritz The Cat”, Robert Crumb hated my guts and was screaming at me.  They gave me an X-rating and my mother was mad at me.  Everyone of them was hard.  Everyone of them I worked seven days a week with no money.  I am shocked but happy that people still love these films.  I am grateful to the internet and guys like you who have saved my ass.

Book Review “The Art of Walt Disney: From Mickey Mouse to the Magic Kingdoms and Beyond”

Author: Christopher Finch
Hardcover: 504 pages
Publisher: Abrams; New edition
Release Date: October 1, 2011

Our Score: 5 out of 5 stars

Walt Disney has been a major influence on my life. I grew up watching the films and still today adore them all. I really look forward to sharing them with my soon-to-be daughter (due May 23, 2012). In fact, I even moved from NY to FL, just to be closer to the parks. This book is honestly the ultimate tribute to the art of Disney and The Walt Disney Company. This is not a new release though, the original edition was published in 1973 and since then there has been many revised and expanded editions released in 1975, 1995, 2004, and now 2011. If you are a Disney fan and don’t own this book, I highly recommend it. If you own past revisions, I would still recommend it because there is so much content added into this latest edition that it completely makes it worth wild.

The newest edition of the book covers the ever changing and expanding history of The Walt Disney Company. Author Christopher Finch didn’t just slap a few new pages and re-released this. He literally updated every chapter to showcase the achievements of The Walt Disney Company in not only filmmaking but also theater, and theme parks. There are a few new chapters though, focusing on mostly Pixar Animation Studio and the new work from Walt Disney Animation Studio like “Tangled”, as well as updated theme park information.. There are also new extensive interviews CEO, John Lasseter, and president, Ed Catmull. This also includes a foreword by John Lasseter. John is such a legend and has aided so much to the Disney legacy with his work over the years.

For a book that was published originally almost 40 years ago, this still relevant and still packs new information even for super fans like me. That is the other thing actually, even though the film is called “The Art Of”, it isn’t just colorful photos. It comes jam-packed with endless thorough information, I enjoyed that the most. You can really tell that author Christopher Finch is a super fan himself. I really looks forward to future revisions of this book. The Disney company will continue to grow throughout the years and will always have special place in my heart.

When you think about art and animation, Disney is the first to come to my mind. They are easily the most successful and influential in the business. This book contains some really amazing concept art, animation drawings and archival materials. Even if you have seen previous editions of this book, this edition literally contains hundreds of new images capturing, well…The Art of Walt Disney.  Let me just tell you how beautiful these images look.  Abrams did an amazing job with this release and delivers the highest quality images.  Whether you are reading this book for yourself or introducing it to your children, it is a great way to keep the Disney legacy going.

Book Review “The Cabin in the Woods: The Official Movie Novelization”

Author: Tim Lebbon
Mass Market Paperback: 272 pages
Publisher: Titan Books
Release Date: April 17, 2012

Our Score: 3 out of 5 stars

Official novelizations have never really been my cup-of-tea. “The Cabin in the Woods” is really no different. The film is so unique and really has to be seen in experience. I am personally a very visual person anyway. If you still prefer to read, I would check out the Official Visual Companion. Read our review here, this book is worth reading immediately…once if you’ve seen the film of course.

Joss Whedon and Drew Goddard did such a great job with this story, changing the face of horror.  I just feel that changing it even so slightly for mass market paperback, doesn’t seem worth it.  The author, Tim Tibbons, is also known for this NY Times Bestselling novelization of the movie “30 Days of Night”. A friend of mine did an excellent job of describing this film as an onion, with each layer being peeled off slowly and reveals new surprises throughout.  I can only really experience this to be enjoyed having actually watched the film.

I can really see this book only appealing to MEGA fans of Joss Whedon, who need to have everything that he is related to.  This book also comes with unnecessary back story for the characters, which isn’t really unless needed as filler for this novel. But then again, like I said in general I am not a big fan of film novelizations. If you would like to experience “The Cabin in the Woods”, I would highly recommend just seeing the movie yourself. Just go see it! You won’t regret it.

Book Review “Disneynature’s Chimpanzee: The Making of the Film”

Author(s): Christophe Boesch, Sanjida O’Connell
Hardcover: 128 pages
Publisher: Disney Editions
Release Date: March 13, 2012

Our Score: 3.5 out of 5 stars

I look forward to Disneynature’s films every Earth Day for the last few years. This year’s installment “Chimpanzee” has been my most anticipated. Well, let’s say that I was very impressed with the film and Tim Allen’s narration. Once I let the theater, I knew I had this book waiting for me at home and I rushed back to dive right in. The book is a little short overall compared to past making-of books from Disneynature, but it is extremely informative and satisfying. If you have seen the movie or even just love nature books, I would rush out and pick up this impressive companion book.

Disneynature’s goal with these films have been to inform their audiences and hope increased awareness with the film’s topics.  This book goal is not only to tell the making of the film but also to focus on the future for these apes. “Disneynature’s Chimpanzee: The Making of the Film” follows the entire process of the movie’s producing,  ranging from the filmmakers pitch to Disneynature to the filming challenges on location in the heart of Africa. I have a lot of respect for the filmmakers and cameramen on this shoot.  They did not have it easy and really sacrificed a lot in order to get this movie made and get the shots needed.  It also features a lot of commentary on the chimpanzees’ background and their territory wars (as the film focuses on).

This hardcover book not only includes a beautiful slipcover, I actually really like what was underneath it more.  There is a beautiful painting of a chimpanzee on both the front and back covers.   Besides just the filmmakers tale of production, there is also much focus on the relationship between Freddy (the packs leader) and Oscar (our little star of the film) is told through stories and also amazing photographs.  The images in the book are very crisp and colorful as well.  I would highly recommend this book and see this movie if you haven’t already, since it tells a great story and is very inspiring.

Blu-ray Review “The Red House”

Directed by: Delmer Daves
Starring: Edward G. Robinson, Lon McCallister, Judith Anderson, Rory Calhoun
Distributed by: Film Chest Media Group
MPAA Rating: Not Rated
Release Date: April 24, 2012
Running time: 100 minutes

Film: 3.5 out of 5 stars
Extras: 2 out of 5 stars

I would like to thank Film Chest Media Group for releasing this classic 1943 film restored on Blu-ray. Before receiving this film, I was not aware of this gem. It is a slow release thriller that packs a fantastic conclusion. It not only looks and sounds great on Blu-ray, it still holds up as a film itself almost 70 years later. I also really enjoyed Miklós Rózsa (“Ben-Hur”) haunting score as well, which rally drove the film. The film itself has been digitally restored in high definition and transferred from original 35mm elements.

This 1947 thriller stars Edward G. Robinson (“Double Indemnity”) as a farmer with a wooden leg trying to keep his family from uncovering a mysterious red house. After need help around the farm his hire’s his adopted daughter Meg’s friend Nath to come help with chores.  When Nath decides to take a short cut home through the woods, Pete warns him to stay out and clear of the red house.   Of course this only makes Meg and Nath more curious and decide to ignore his warnings and begin exploring.  As they get closer to the truth about what the deal with the red house is, it might be too late.

The high definition 1080p B&W transfer looks really sharp and clear. The special features even include a before-and-after restoration demo, which is short but shows how much better the film looks. The film is also presented in full screen with an aspect ratio of 4×3. The sound on the film is also notable packing a great DTS-HD Master Audio Mono track. There is a commentary track included from author William Hare, who talks about film noir aspects of “The Red Room”. Also within this combo pack is a DVD of the film, the original 35mm trailer and an original movie art postcard.

DVD Review “The Dick Van Dyke Show: Carl Reiner’s Favorites”

Directors: Alan Rafkin, Jerry Paris, John Rich, Robert Butler, Sheldon Leonard
Starring: Dick Van Dyke, Mary Tyler Moore, Rose Marie, Morey Amsterdam, Carl Reiner
MPAA Rating: Unrated
Distributed by: Image Entertainment
Release Date: May 1, 2012
Running Time: 500 minutes

Our Score: 3 out of 5 stars

Who doesn’t love Dick Van Dyke and Mary Tyler Moore.  They both have such natural comedy timing.  This volume of 20 episodes are personal favorites of series creator Carl Reiner.  This seems to be a tradition with Image Entertainment, who released “The Dick Van Dyke Show: 50th Anniversary Edition: Fan Favorites” last year.  Overall great travel back to a special time in our TV history. If you are a fan of the series, and who isn’t, pick this up, sit back and enjoy.  It is also a good start for new fans because what is a better way to watch the series than with the favorites from the creator himself.

Since Image did “Fan Favorites” last year and Carl Reiner’s picks this year, I am curious what will be next.  I just hope that they try a different box cover since they only changed the color from blue to red on these releases.  There are also no special features included like the last release. The episodes though are said to be in pristine quality and they definitely looks great.  For a show that aired over 50 years ago they look especially well.  If we are traveling back to 60’s comedies on TV though, I would most likely prefer 1962’s short-lived “I’m Dickens…He’s Fenster” with Marty Ingels and John Astin.

Episodes: Never Name a Duck, The Attempted Marriage, Hustling the Hustler, A Bird in the Head Hurts, Gesundheit, Darling, Will You Two Be My Wife?, Ray Murdock’s X-Ray, Don’t Trip Over That Mountain, The Sam Pomerantz Scandals, Divorce, Laura’s Little Lie, Very Old Shoes Very Old Rice, The Life and Love of Joe Coogan, The Plots Thicken, The Return of Edwin Carp, Pink Pills for Purple Patients, Baby Fat, No Rice at My Wedding, A Day in the Life of Alan Brady, Obnoxious Offensive Egomaniac Etc.

Brendon Small Talks about New Solo Album “Galaktikon”

Brendon Small is the creator of the popular Adult Swim series “Metalocalypse”. Brendon is also the guitarist/vocalist for the live version of the band Dethklok. Media Mikes recently had the chance to talk with Brendon about his upcoming solo album titled “Galaktikon”.

Check out our interview with Brendon Small about Season Four of “Metalocalypse”

Adam Lawton: What can you tell us about your new album?
Brendon Small: To start with people who want to hear the album before its release can go to my website www.brendonsmall.com and sample the entire album. It’s different than I guess what I am known for at this point. I tried to coin a phrase for this album and that is “High stakes intergalactic extreme rock”. That is what this record sounds like to me. This album is a long concept album that I wanted to have different 70’s space elements. I wanted modern metal and rock sound in there also. The sounds really range from bands like Queen and ELO to Soundgarden and Smashing Pumpkins. This is something I am doing on my own time outside of Dethklok to be able to explore more melody. No influence was unwelcome during this process. Anything I felt like doing I just went and did it. I didn’t care because I wanted the album to sound like I thought it should.

AL: Can you tell us about the actual concept for “Galaktikon”?
BS: I had finished the guitars and bass for what would be the last song on the record. The track basically only had the rhythm guitars and a temporary bass track. I was improvising some vocals over the top of those and at the time still had no idea what the album was going to be about. While I was singing I thought that the song sounded like and energetic final battle chase sequence. I used some lines about a guy going to save a girl. What I was really doing was thinking about a superhero on his way to save the girl but complaining about it. The end result was what if Superman and Lois Lane had a big, messy public divorce. She left Superman but still ended up getting into trouble all the time resulting in Superman still needing to save her. Even worse than that is what if she started dating Lex Luthor? She is going to have to rebound somehow. It’s an intergalactic divorce story. Each song takes on a part of the story and it progresses throughout the album. The story is kind of obliquely written and I wanted these songs to function almost like pop songs in a way. The songs do have a meaning underneath all of this stuff.

AL: Was the initial writing process different for this album as compared to when you are writing Dethklok material?
BS: These songs are a little bit more odyssey based. The songs take a lot of twists and turns. The first song on the record titled “Trident” has somewhat of a bridge and then it takes all these left and right turns. It is all kind of melodic and makes sense on its own logic. I did however experiment with a couple odyssey composed songs on the second Dethklok album. Generally for the stuff I do with Dethklok I will go into the studio with some drum parts and work with Gene Hoagland. We sort of cut and paste his ideas and my ideas together and then I will lengthen or shorten the guitar parts in order to fit the song. Digital recording really gives you an open session where you can just mess around constantly. It is like a gigantic sketch book that you are always changing and moving things. That’s how I work. I don’t have anything fully formed when I start out. I just have energy or a tempo. When it comes to melody or vocals it’s just me experimenting on top of stuff till they start to sound right. That’s how I do guitar lines as well.

AL: From start to finish how long did this album take to complete?
BS: This was a pretty long process. I think it took about 2 years. I had the recording done around April of last year but I wanted to pick the right time to release it. I thought now would be a good time as season 4 of “Metalocalypse” is set to come out as well. I think I will get more bang for my buck releasing the show and the album at the same time. The drums were actually record back in 2009 prior to starting the second Dethklok album. The contracts weren’t finalized yet to start that record but I had everything booked already.  I would have felt like a jerk bringing all those guys in and not having any work for them. I gathering up a bunch of riffs that were written back in 2005 that I knew wouldn’t work for Dethklok and told the guys they were now working for me not the show. We did the drums and they sat on a hard drive while I went on tour and finished season 3 of the show. Once I was finished with all that stuff I realized I had spent all this money on drums and that I needed to do something with them.

AL: Is there one track that stands out above the rest for you personally?
BS: I have no objectivity with this album. I will listen to the songs and think that I would like to fix certain parts or that I like another part. I think throughout the record you can hear me starting to sing a little better. (Laughs) By the last song I think my vocals have gotten stronger. I don’t necessarily have a favorite. I do have moments that I enjoy. Really anything with a guitar moment excites me. There’s a part in the song “Dangertits” where I think I have a really great guitar tone.

AL: Any tour plans for this album?
BS: I don’t have any tour plans right now. I am going to see how the album does. This record is totally independent. I financed this thing all myself. I talked to some labels but I knew I would probably get a better deal if I did things on my own. I am pretty much going to be selling it through my website. It’s not going to be a sound scan thing so people won’t know how many copies have been sold. I will probably put it on iTunes the day of the release but all the pre-order stuff is going through my website. Whether the album succeeds or fails I have learned a lot about being an entrepreneur.

AL: Do you have any other upcoming plans?
BS: I have some projects that I am working on where I would just end up being a producer on. I can’t really talk about those unless they get picked up. There are some things that I am really excited for. There is some stuff out there that I would also love to do. First things first is I have to get this record out and season 4 of “Metalocalypse”. There is going to be a whole bunch of cool announcements coming out related to the show. That stuff will probably keep me busy for awhile. I am a very lucky guy in that I have gotten to do what I want with the people at Adult Swim. They are great people and give me a lot of creative freedom.