Film Review “The Hornet’s Nest”

Starring: Carlos Boettcher and Mike Boettcher
Directed By: David Salzberg and Christian Tureaud
Rated: R
Running Time: 97 minutes
Freestyle Releasing

Our Score: 4.5 out of 5 stars

I remember where I was, and what I was doing on September 11th, 2001 and oddly enough I equally remember my exactly location, and activity the day we started our war in Afghanistan. It’s hard to believe that it’s been over 12 and a half years since we first set foot in the rugged Middle Eastern country. While I’m sure there will be plenty of future documentaries and dramatizations to come after we have our final soldier leave, “The Hornet’s Nest” will be a part of the pantheon of important films documenting the sacrifice American troops made.

“The Hornet’s Nest” pulls no punches with its depiction. From the very first frame, we’re implanted right in the maelstrom of war. We hear the violent hiss of bullets whizzing by (sometimes too close for comfort), while troops quickly take cover and return fire. There’s even a couple of gripping moments as they search for IED’s in the dirt paths littered about the countryside. Moments showcasing the lives, thoughts and feelings of the soldiers we watch are embedded in between their multiple near death encounters. With such an unflinching look, it’s a little unnerving when the fire fights start. You’re never quite sure what horrific twists and turns lie ahead or what tragedies the camera might catch.

Giving us this harrowing glimpse of chaos is Mike Boettcher, a Peabody and Emmy award-winning journalist, who still looks haggard from his time over there. He’s joined by his son, Carlos, a rookie in the journalism field, who is a constant worry for Mike. Equipped with a couple of hand-held cameras, they conceal themselves amongst the U.S. military. They join them on one of their most dangerous missions yet, Operation Strong Eagle III. It’s not altogether clear what the specifics are, but the gist of the operation involves eliminating the Taliban presence in parts of the Kunar province where local Afghans are still trying to find a way to prosper economically.

The focus seems a bit uneven at times with an unnecessary side story involving our documentarians, Carlos and Mike. This should be a vehicle driven by the brave men and women of the United States, but at times the troops take a back seat to a quasi-emotional and divested look at the father-son relationship of Mike and Carlos. I know that these two are putting their lives on the line along with our troops to bring us this fine look into the warzone, but it feels a bit disingenuous to take even a fraction of the spotlight from the military. Luckily that perspective fizzles out halfway through.

When we are left with the footage of combat, there’s no contesting the raw power it holds. The emotional clutches of “The Hornet’s Nest” doesn’t come from any on-screen violence, but more from the heart wrenching moments. There’s these unbearable moments like when the realization set’s in on the troop’s faces when someone has just died. It’s made even worse when a flood of sadness slams into their demeanor when recollecting their last fleeting glimpses of their friends they’ll never see again. “The Hornet’s Nest” isn’t a political piece nor is it a propaganda vehicle ready to stir patriotism, it’s a powerful human reminder of what the past 12 and a half years have been like for hundreds of thousands. We should never forget these people.

Psychostick’s Rawrb talks about the band’s summer tour, “The ‘Merica F*ck Yeah Tour”

Psychostick is probably best known for their song “BEER!!”, the heavy metal anthem to irresponsible drinkers everywhere that made the rounds on the Internet back in the early 2000’s and popped up frequently on active rock stations across the country. They’ve had their tongue firmly planted in their cheek for nearly a decade and a half and now they’re about to enter a new chapter in their band history. After a successful Indiegogo campaign, Psychostick was able to raise the funds to build their very own studio in their home. That means they’ll be able to put out more music and content to their rabid comedy-metal fans. Media Mikes had a chance to catch up with the lead singer, Rawrb, about what kind of plans they got in the works and their upcoming summer tour with Dog Fashion Disco and The Bunny The Bear.

Jeremy Werner: I know the first thing people will wanna know is everything and anything about the new album you’re working on. So, is there anything new about the album you’d like to share with us that people might not already know about?
Rawrb: The only thing that’s been released about the new album has been “Obey the Beard”. The actual title and track listing hasn’t been announced yet because we’re still going back and forth on a lot of that stuff. We’ve recorded a lot of songs and it’s coming together. Once everything really starts to get finalized. We’ll really start releasing more info.

Jeremy: Do you guys have an estimated release date?
Rawrb: Hopefully early fall…I’m guessing.

JW: Now I know during the Indiegogo campaign, one of your stretch goals, if you raised the money, was to release a covers album. Sadly you guys didn’t reach that goal, but is a cover album still in the cards?
Rawrb: We talked about it, but we still might do it eventually. We were gonna do it sooner than later if we hit the stretch goal but we definitely want to. It’ll just be longer before we can.

JW: So you’re about to hit the road with Dog Fashion Disco and The Bunny The Bear…can fans heading out to the shows expect a new song on this upcoming tour?
Rawrb: We’re going back and forth on that one too. There’s one in particular we wanna play, but I’m not sure if we’re gonna have time. We’re a little bit short on the set for us, but I think we’re gonna try and squeeze another new one in there. We’ll see.

JW: A short set-list? It’s not a co-headlining tour with Dog Fashion Disco?
Rawrb: No, probably not, it’s pretty much their tour. They invited us out and we were very ecstatic to do that because .they still have a huge fanbase. I don’t know if you saw their Indiegogo, but they just blew it out of the water.

JW: Oh yeah. It was really impressive. It’s good to see both of you guys hitting your initial goals without a problem.
Rawrb: Yeah, so honestly, it’s not a co-headlining tour. We’re the opening act for them the whole tour.

JW: Now I saw they’re heading overseas for the first time to play three nights in England…so is that a sign that maybe you guys are heading overseas for the first time?
Rawrb: We’re trying. We’ve made a few new contacts and it’s the closest it’s ever been so I’m pretty optimistic. I think it will happen, maybe this year or maybe next year, hopefully. I’m hoping that it will happen later this year because we’ve been overdue for this for a long time. We have a pretty good following overseas and we’ve just never had an opportunity jump over there because of…silly reasons like money (laughs).

JW: So going back to the new studio you guys were able to build…what exactly does it mean for the future of Psychostick?
Rawrb: We’ll be able to produce music more frequently. One of the biggest challenges and why it’s been so long since we’ve had a new album, is that we tour so much and don’t have the resources to sit down and just crank out another album on a more frequent basis, but now we’ll be able to do that. I’m hoping we’ll release more music, more frequently. Instead of waiting three years, it’ll be a year and a half or less. We live in our studio too, so we can wake up and write a song and record it then and there. It’s really nice to be able to do that. A lot of the obstacles have been removed so we can get a lot more done and there will be a lot more stuff coming.

JW: What musical direction will you go with now that you have this studio? Will you be focusing on cranking out more albums or maybe a couple EP’s here and there or will it be like the video posted a while back…your cover of “Reading Rainbow”?
Rawrb: We put out the “Reading Rainbow” cover a couple weeks ago and that was just us testing out the studio. We just wanted to see how it was gonna work. It happened really fast and we were super excited. We’re gonna do full length albums and little tidbits like “Reading Rainbow” We’re gonna try and do more covers too because we have a great idea and we can’t sell it because it’s owned by somebody else. So since it’s a cover, we can just go crazy with it. There’s no limits to this now, except for time…(laughs)…we’re excited.

JW: Now that you have your own studio, are you guys thinking about dropping from your label and creating your own?
Rawrb: We haven’t really thought about it. We’re very happy with Rock Ridge. We handle all of our own production, they don’t have any say in that and that’s part of the reason why we love them is because we can do what we want. We built the studio so we can crank out whatever we want and when we want.

JW: Is there anything else you want your fans to know?
Rawrb: We’re working on new stuff and there’s gonna be a lot more content like videos and gags and things like that, that we got planned. When it hits, you’ll know. It’s gonna be non-stop and there’s gonna be more music from us now that we have a studio. So we’re excited about all these things and I think our fans will be really happy with what we come out with because we are. And that’s the first step, we have to like it, before we let it out…(laughs)…it’ll be good.

You can check out Psychostick on their summer tour, ‘The Merica F*ck Yeah Tour’, playing alongside Dog Fashion Disco and The Bunny The Bear, at the following dates:
May 29th: Amityville, NY
May 30th: Albany, NY
May 31st: Pennellville, NY
June 1st: Watkins Glen, NY
June 2nd: Trenton, NJ
June 3rd: Providence, RI
June 5th: Westland, MI
June 6th: Cleveland, OH
June 7th: Cherry Valley, IL
June 8th: Joliet, IL
June 9th: Minneapolis, MN
June 10th: Merriam, KS
June 11th: Waterloo, IA
June 12th: Des Moines, IA
June 13th: Lincoln, NE
June 14th: Denver, CO
June 16th: Salt Lake City, UT
June 17th: Sacramento, CA
June 18th: West Hollywood, CA
June 19th: Las Vegas, NV
June 20th: Tuscon, AZ
June 21st: Scottsdale, AZ
June 23rd: San Antonio, TX
June 24th: Houston, TX
June 25th: Fort Worth, TX
June 26th: Oklahoma City, OK
June 27th: St. Louis, MO
June 28th: Indianapolis, IN
June 29th: Columbus, OH

Film Review #2 “A Million Ways to Die in the West”

Starring: Seth MacFarlane, Charlize Theron and Liam Neeson
Directed By: Seth MacFarlane
Rated: R
Running Time: 116 minutes
Universal Pictures

Our Score: 4 out of 5 stars

There are actually some lofty expectations for “A Million Ways to Die in the West”. Weird, right? Two summers ago Seth MacFarlane put out the comedy sleeper hit, “Ted”. It combined his “Family Guy” style of random, filthy humor with the likeable personas of Mila Kunis and Mark Wahlberg coping with the next step of their relationship. Once again MacFarlane throws everything and the kitchen sink from his bag of humor in the hopes of pulling a throaty laugh from his audience and for the most part he succeeds. “A Million Ways to Die in the West” also stirs up a worthy farce of Western movies.

But let’s not get ahead of ourselves and hail the second coming of “Blazing Saddles”. MacFarlane is the lead, which deters him from drawing some of the biggest laughs in the movie. As Albert, a spineless sheep farmer, he does have some very good quips, but the supporting cast padding is what makes “A Million Ways to Die in the West” a comedy gem. Friends of Albert, Edward (Giovanni Ribisi) and Ruth (Sarah Silverman), are a Christian couple who are waiting until marriage to make love; which is constantly complicated by the fact that Ruth is a prostitute with customers who continuously find more unique ways and inopportune times to tell her to get upstairs and bang them. Louise (Amanda Seyfried) is Albert’s ex-girlfriend who is the butt of jokes, but is now dating the master of mustaches, Foy (Neil Patrick Harris). NPH is an absolute pleasure in every scene, selling every moment more than anyone else in this movie.

Then there’s the warm and beautiful Anna (Theron). A smart, quick trigger gal who finds her way into Albert’s slice of hell town called Old Stump. Upon meeting and slowly falling for each other, she fails to mention to Albert that her husband, Clinch (Neeson), is one of the most dangerous and deadly outlaws in the west that has a sadistic code of ethics when choosing who to kill. Anna and Albert complement each other with their smartass remarks and craving to be with someone who appreciates them for who they are. MacFarlane and Theron sport some decent on-screen chemistry which probably comes as a shock for the thousands who were up in arms over MacFarlane’s “We Saw Your Boobs” at the 2013 Oscars.

The characters in this movie have an odd, child-like approach to plenty of crudeness which makes it all the more humorous and ridiculous. Comedic scenarios feature a combination of sight gags, one-liners and a visually gross punctuation. Also slip in the unnecessary violent death to further accent the title of the movie. With such a palette of absurd and juvenile humor, there’s something for everyone in this rapid fire executions of jokes, at least anyone who isn’t afraid of a little inappropriate, sexual and racial provocation. Some of my more favorite scenes feature a hyper violent bar fight and the interactions between Albert and his aging father who speaks his emotions through expletive hyperboles.

While “Ted” was a perfect blend, cast-wise, “A Million Ways to Die in the West” feels incomplete. The lengthy running time starts to show as we continue to wait for the climactic showdown between Albert and Clinch. Also I can’t quite heap on the same amount of praise to MacFarlane that everyone else got. He isn’t admirable enough to be the improbable hero. He has a low level of smugness that ruins the high octane levels of every-guy so we don’t quite see him as amiable. NPH would have been miles better in the lead role and it’s a puzzle as to why no one pointed this out to MacFarlane when the script was being read. Regardless, “A Million Ways to Die in the West” is the comedy to beat so far this summer.

Film Review “Blended”

Starring: Adam Sandler, Drew Barrymore and Bella Thorne
Directed By: Frank Coraci
Rated: PG-13
Running Time: 117 minutes
Warner Bros.

Our Score: 3 out of 5 stars

I remember talking with Media Mikes co-founder, Michael Smith, at the beginning of the summer about the chemistry between Adam Sandler and Drew Barrymore and how the duo have probably put out the better of the Adam Sandler comedies; “50 First Dates” and “The Wedding Singer”. While he saw the potential for Barrymore and Sandler to perfect their trio of romantic comedies with “Blended”, I simply saw “Adam Sandler and Friends Go to Africa and Make Fart Noises with Their Mouths”. I’m here to say that Michael Smith was right.

“The Wedding Singer” is by far one of the diamonds in the rough in the Adam Sandler collection while “50 First Dates” was made watchable by the magic of the two. This time around, they do it again. “Blended” is the story of two single parents, Jim (Sandler) and Lauren (Barrymore). Jim has three daughters while Lauren has two sons (they’re just one child short of a Brady Bunch reunion) and while they’re both suitable as stressed out single parents, they’re both lacking a set of skills to deal with their children of the opposite sex.

A blind date brings these two together and it goes nothing short of an ocean liner hitting an iceberg. First off, the date is at Hooters, then they can barely make eye-contact, and they’re both plotting an early exit and I haven’t even gotten to Jim knowing each waitress on a quick first name basis. It’s obvious these two are going to cross paths again (and they do a couple of times), but the story needs to really cement a ludicrous predicament for them to be stuck somewhere. How about a trip to Africa? A trip to Africa it is. Although I find it odd the movie never tells us the country…or city that the trip takes place…as if the intelligence of our characters only goes as far as believing the entire continent of Africa is just one big country.

It’s quite fascinating that if you were to cut out the gross out humor, like rhinoceroses banging, this is a very good comedy. There’s a lot of surprising laughs, provided by the children, and when Jim and Lauren take jabs at each other. Now that Sandler has aged and isn’t violently screaming for laughs, he is quite charming as a humble father of three who adds a level of sorrow because he’s afraid to move on past his first wife who’s dead. He’s shockingly believable as an apprehensive man who’s still in love his wife who has passed on.

My list of groans and cheers are about at equal length. While the running time definitely stretched this well beyond its means, I’m glad the movie took the time to slowly create the bond between Jim and Lauren. When the movie isn’t forcing a product placement in front of us, there’s actually a thoughtful reason why Jim loves going to Hooters (maybe the first in history). I know I’m beating a dead horse, but Sandler and Barrymore were the reason I inched to the positive side. I’ve never seen Barrymore this funny or Sandler this heartwarming. You almost forget both are happily married with their own children in real life when on-screen sparks fly between them. I guess Sandler just needed a break from his usual drab, but I’m sure he has some more head-shakingly bad movies in the works. Until then, enjoy “Blended”.

Concert Review: Slayer – Uptown Theater – Kansas City, Missouri

Slayer
Uptown Theater
05/13/2014
Kansas City, Missouri

Our Score: 4 out of 5 stars

I guess you could say this is Slayer’s way of squeezing out a few pennies before the onslaught of summer tour dates and finishing up their 11th studio album. It’s understandable that a band, especially with the resources at a hand, wouldn’t mind going on a little stint across the U.S., but this is the first time since 1990 that Slayer has toured with Suicidal Tendencies (I was two when that tour tore across the states) and they have Exodus to boot on this trek. If this is what Slayer does for a “short tour”, they need to do it more.

If you’ve never been to Kansas City, then I shall fill you in on the absurd weather that we receive. During the seasonal transition months, it can be stupid muggy or ridiculously brisk. This was one of those Spring/Summer evenings that was quite chilly, so reluctant to say, a bunch of heavily pierced and leather wearing men were ready to pack in like a sardine can into the Uptown Theater and sweat it out. A line outside literally stretched a block as Exodus began it’s sound check. So it’s obvious who people were there to see.

I’ve been a longtime fan of Exodus and they didn’t disappoint. A small collective of hairy men were near the front going insane while die-hard fans rode the barrier wall up front. For three bands that highly respect each other and have a good four to five hours of play time to split amongst them, it’s a bit weird that Exodus would only be allowed a little less than half an hour. Would have loved to see them at least play one new song off their last three albums, but once “Piranha” came on, I was livid with joy that’d they play the first song I heard of theirs many, many years ago.

I don’t know a lot about Suicidal Tendencies and they’re not necessarily high on my list of go to music in the car, but I have a great amount of respect for a band that really helped mold a fluid hardcore/thrash metal sound. These guys must have gotten straight out of a time machine because their energy was through the roof. I didn’t know any of the songs right off the bat, but after the first time hearing the chorus, I couldn’t help but mouth a couple of their violent anthems. I think their youthfulness is bolstered by the new addition, Thomas Pridgen, at drummer. He hasn’t even performed on any of their albums and yet he played with such manic enthusiasm, you’d think he was fighting for a spot in their line-up. Ironically they continued the trend of not playing a single new song on the night.

I’ve lost count of how many times I’ve seen Slayer, but that rush of adrenaline before they get on stage never goes away. Their stage staple is always an upside down cross and yet they find a new way to present it or light it on fire. Gary Holt, who’s replacing Jeff Hanneman, is solid and Paul Bostaph, who’s back in the band for a third time, is also good. Hanneman and Dave Lombardo will definitely be missed and it felt awkward watching a band that only performed songs featuring those two previous members. I can’t tell if it’s a tribute to their contributions or not. Give the fans what they want though, anything before 1990 is classic Slayer.

While I got to hear plenty of songs I’ve never heard before live like “Chemical Warfare”, “At Dawn They Sleep”, and “Black Magic”, I wouldn’t have been upset if they slipped in God Hates Us All or Hate Worldwide. I even heard their newest single “Implode” online and thought that was definitely something they’d shred. Nope, they stuck to their first five albums. I’m still waiting for the day I at least here one song off of Diabolus in Musica. Maybe it’s because I saw the insane energy of Suicidal Tendencies just an hour before, but the energy of Slayer just wasn’t there. The go-to band of the metal community was upstaged at their own headlining show.

Outside of a pair of gentleman, there’s not a single ounce of young blood on this tour. While it’s great to see these guys who are pushing towards their 50’s chug out some old tunes, I would have loved to see some new music. For someone my age, it’s not necessarily nostalgic to hear some of the best 80’s pit music, but I understand it’s what made you popular and it’s what people know. While Slayer is planning on putting out their new album this year, it doesn’t show a lot of promise when they don’t play the single they released before embarking on this tour (and from what I read didn’t play it at Rock on the Range). Are they simply appeasing to fans or worried that they’ve been spent the past two to three decades making garbage? Maybe I’m overthinking it…or maybe I’m worried Slayer’s about to hit a slump.

Exodus Set-List
Bonded by Blood
Piranha
War is My Shephard
Blacklist
The Toxic Waltz
Strike of the Beast

Suicidal Tendencies Set-List
You Can’t Bring Me Down
Trip at the Brain
War Inside My Head
Subliminal
Possessed to Skate
I Saw Your Mommy
Cyco Vision
Pledge Your Allegiance

Slayer Set-List:
Hell Awaits
The Antichrist
Necrophiliac
Mandatory Suicide
Captor of Sin
War Ensemble
Postmortem
Altar of Sacrifice
Jesus Saves
At Dawn They Sleep
Die by the Sword
Hallowed Point
Seasons in the Abyss
Chemical Warfare
Dead Skin Mask
Raining Blood
Black Magic
South of Heaven
Angel of Death

Film Review “Stage Fright”

Starring: Allie MacDonald, Meat Loaf and Minnie Driver
Directed By: Jerome Sable
Rated: R
Running Time: 89 minutes
Magnet Releasing

Our Score: 3.5 out of 5 stars

If there’s one musical slasher to see this year, it’s “Stage Fright”. Or maybe it’s this summer’s gory ode to musicals. Or maybe it’s 2014’s catchiest, disillusioned fantasy about someone who wanted to see all the theater kids at their school slaughtered. Regardless of the movie’s intentions and lack of settling on a genre, “Stage Fright” is one of those guilty pleasures that combines two unlikely affections, Broadway and horror.

I must admit these are both guilty pleasures of mine. I have “Wicked” on my iPod and “Cannibal Holocaust” in my DVD collection. While “Stage Fright” doesn’t quite meet the satisfying highs that both of these make within the context of their own category, it manages to stitch together a working piece of parody that provides some hearty laughs and a string of snickers during songs. At times it’s surprising how much more fulfilling the corny songs are than the eventual killings.

The movie presents us with two siblings, Camilla (MacDonald) and Buddy (Douglas Smith), the children of a murdered opera diva, Kylie (Driver). She’s stabbed to death by a freak wearing the mask of the villain in the musical she’s performing in, The Haunting of the Opera. The murder goes unsolved and the young ones are taken in under the care of one of Kylie’s former lovers, Roger (Meat Loaf). Fast forward to 10 years after these events, the two children are all grown up and toiling in the kitchen of Roger’s dilapidated summer camp for theater kids. The deeply in debt camp allows it’s summer time students to put on their own plays and this summer, they’re putting on a Japanese version of The Haunting of the Opera. Once again another psycho, this time donning a Kabuki mask, stalks the sets and bides his time before he can kill the young campers.

The cheesiness seeps into nearly every line of dialogue and shows that director Sable has a deep appreciation of horror and the musical styling of theater. For every reference to “Hellraiser” and “Friday the 13th”, there’s an obvious nod to “Phantom of the Opera” and unforeseen wink at “Glee”. While the blueprints are obvious, Sable’s final product is a bit shrouded. The straight face acting would lead you to believe this is a parody, but to the astute viewer, the potpourri blend of humor, theatrics and midnight frights are an homage to Sable’s influences. I can understand why this can be off-putting to viewers hoping for one or the other.

Despite having to play the shy girl that eases out of her cocoon throughout the running time, MacDonald really blossoms when panic sets in. And if that’s her actually singing in this movie, I can’t believe this incredibly attractive 26-year-old actress only has 20 acting credits to her name. While Minnie Driver gets her name near the top, her short screen time and quick murder appears to be a bow to “Psycho”. Meat Loaf really steals the scenes he’s in and in my humble opinion, needed more opportunities to really belt one out and stretch those monster vocal cords of his. Not that I’m complaining that Sable was able to nab Meat Loaf for another rare on-screen singing role.

“Stage Fright” is far from perfect and definitely needs to be refined, but the nucleus of this movie is fun enough to turn a blind eye to its predictability. I wouldn’t actually mind seeing a stage performance of this movie with a lengthier amount of time given for silly songs and a splatter zone for audience members. It worked for “Evil Dead: The Musical”. Sable’s next project will be featured in “The ABC’s Death 2”, which might show us which one of his talents is stronger, music or violence. Until then, relish in the absurd tongue-in-cheek goodness that “Stage Fright” gives in every octave.

DVD Review “Locker 13”

Actors: Krista Allen, Rick Hoffman and Tatyana Ali
Directors: Bruce Dellis, Jason Marsden, Matthew Mebane, Adam Montierth and Donovan Montierth
Rated: R
Studio: Brothers’ Ink Productions
Running Time: 95 minutes

Our Score: 0.5 out of 5 stars

I’d never heard of “Locker 13”, but after one grueling hour and a half, I still wish I hadn’t. After a doing a bit of research, I found out that “Locker 13” is the baby project of five misguided directors who took their dreams to Kickstarter, in the hopes of finding some s̶u̶c̶k̶e̶r̶s̶ contributors. It’s ironic that they raised the bare minimum ($25,000) and that’s how much of an effort I feel they put into this. I really hate to rag on an independent movie with good intentions, but “Locker 13” is simply one of the worst anthology movies I’ve ever seen.

“Locker 13” features four short stories with a wraparound story. So like most anthology movies, what’s the common running theme in all of them? It’s a haphazard ethical argument about making the correct life decisions. The wrap around story involves a newly hired janitor at an Old West themed park (a story that’s been begging to be heard *eye roll*) being told multiple stories about the random items they encounter that all gravitate towards a mysterious old locker. The enveloping tale doesn’t ever really tell us why this sagely old employee is recounting all these stories or how he even knows about them. He just does.

Our stories include: A boxer with lethal gloves, but he doesn’t seem to regret the deadly powers they give him. We have a secret society that tells bad jokes and smokes cigars and like all standard exclusive clubs, there’s an initiation process. There’s a random suicidal individual on a rooftop, whose choice to end his own life is interrupted by an arbitrary stranger. Then there’s a misogynistic story that I won’t even bother you with. One after another, they play like a string of rejected “Twilight Zone” episodes.

It feels as though each individual director/writer built their story without any perception of what everyone else was working on, nor did they seem to concern themselves with tying up their pieces to boost the overall wrap. This is evident by the third story where a man threatens to kill a suicidal individual to show him how much he actually values life. I actually re-watched it thinking there was some meta-commentary on this preposterous situation, but I was wrong. It’s just terrible writing.

I wasn’t going to fault the acting in a movie with a $300,000 budget, but once Jon Polito (Miller’s Crossing and Barton Fink) showed up, I felt the directors could have at least gone big or just stayed at home and refunded their Kickstarter faithful. I’m sure there are other fantastic cameos in this movie, but they’re crammed in between so many disposable dime store performers, their skills are hindered.

I feel like there’s a poor salute being made to other anthology films as well as B-movie storylines. While some material is tongue in cheek, the majority of it feels like unwanted short stories or art school projects used to help hone the craft of filmmakers. Simply put, the stories never engage the audience or seem concerned about constructing a storyline that can thrill, scare, and intrigue or even amuse the audience. Instead of just going back to the

Film Review “The Final Member”

Starring: Sigurour Hjararson, Pall Arason and Tom Mitchell
Directed By: Jonah Bekhor and Zach Math
Rated: R
Running Time: 75 minutes
Drafthouse Films

Our Score: 4.5 out of 5 stars

I literally stared at the computer screen for a couple of minutes not typing and thought to myself, “How do I even begin to describe “The Final Member”?” By the way, I know that’s my job smartasses. I could easily make a couple of penis puns or I could switch things up and talk about how this will be the only documentary you will ever see where male genitalia is on full display in all its severed glory. So let’s just give this the ol’ college try.

Miles from the Arctic Circle in an Icelandic town I can’t pronounce, Husavik, sits an incredibly unique museum. It is the Icelandic Phallological Museum, the world’s only penis museum. I’ll just go ahead and let that sink in for a moment…still with me? Good. Its founder, Sigurour Hjararson, has spent just over 40 years collecting ding dongs from all over the world, from every animal and species. Mounted on the walls are towering animals dongs and in jars lined across the store one can view an assortment of male animal genitals. It is truly the showcase of a lifetime of work. It’s just missing one mammal in particular. It is missing the penis of the most self-conscious creature on the planet, the human. Still with me?

You would think in this day and age of traveling skeleton, human body exhibits and people touting the corpse of King Tut, it wouldn’t be that hard to find an unused penis just lying around somewhere. Not only do you have to deal with some hefty legal work, you also got to deal with some massive egos attached to your future specimens. Hjararson has landed a local legend in terms of sexual promiscuity, Pall Arason. He’s an aging man who has nothing, but the memories of his sexual conquests of hundreds of women and the blushing whispers of women saying that he’s well endowed. Although in one of the most awkward documented moments, a plaster cast of his pecker proves futile as he can’t quite maintain an erection.

Size does matter in Iceland too. Anything below the five inch mark is considered useless. Not only is it a common belief that the recommended length is five inches (or 12.7 centimeters for you folks across the big pond), but it is also a well-known piece of folklore that you might as well just lop off your wing dinger if it’s less than those solid five. With people calling into question Pall’s length, that’s when Tom Mitchell enters the fray. His mindset is, “You don’t have to wait until I die, I’ll gladly snip my monster off now and let you have it.” He even gets the stars and stripes tattooed on the head of his manhood so that future museum goers will know that that’s an American penis. “The Final Member” in just the first couple of minutes instantly becomes a fleshy “mine’s bigger” battle.

While there are plenty of laugh-out-loud moments, “The Final Member” provides a subtle humility to our genital obsessed gentlemen. The idea of mortality is a big theme even though it faintly hovers in the background. Pall is at death’s door and shows signs of worry. Will he actually be remembered as a living, walking, sex-machine? That’s really all he has left. After a couple of moments with Mitchell, you can tell he has a seriously unhealthy relationship with his own penis. He’s borderline obsessive about having his wiener on display. While both of their reasons seem a bit bizarre, that’s how they’ve lived their lives. They’ve spent years being proud of their dangly parts and want to be immortalized in Hjararson’s museum. It’s like a writer wanting his works publish, a filmmaker wanting their work produced or a soldier crying as his name is etched into a memorial wall. Hjararson himself hopes he can complete the museum before he meets his untimely end so that his life wasn’t wasted on collecting the male anatomy.

“The Final Member” is an immensely engaging documentary that really showcases how vain men can be. It’s one of the few movies that I loved, but I don’t know if I can really recommend it to the average person. I can already see the scrunched up faces of disgust as I lay out the purpose of the documentary. I can hear the laughs, but at the same time I can visualize the waning interest. If you don’t mind constantly seeing penises, I would definitely recommend you watch “The Final Member”.

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Film Review “Brick Mansions”

Starring: Paul Walker, David Belle and RZA
Directed By: Camille Delamarre
Rated: PG-13
Running Time: 91 minutes
Relativity Media

Our Score: 1.5 out of 5 stars

Has Hollywood reached that point where they see Luc Besson’s name and automatically write the check? He has 24 screenwriting credits over the past decade and off the top of my head I can’t come up with one good movie he has penned. His latest is “Brick Mansions”, a remake of “District 13”, which he also wrote. From what I’ve read, he didn’t change much with the story. He’s either getting lazy or he knows studio executives will automatically respond with, “Shut up and take my money.”

“Brick Mansions” has a fairly promising premise. We’re dropped into a crime-ridden, dystopian Detroit in 2018 (not too far off or inaccurate). In this not so bleak future, the powers to be have built a tall thick wall around the problem spot of the city, known as the Brick Mansions. A ruthless drug kingpin, Tremaine (RZA), controls the area under his iron fist, even though he’s only seen cooking and making aimless threats. He has two problem spots in his territory. One is an undercover cop, Damien (Walker), who fights the scum of the street that he incorrectly blames for his father’s death. The other is Lino (Belle), a scrappy fighter who fights for the common good because…who cares because the script certainly doesn’t.

One can surmise that is going to be a rough and tough action movie and while that is true to a certain extent, the fights never evolve beyond mildly amusing. You’ll begin to realize that each battle is actually just one chase after another with Lino pulling off his best Jackie Chan escape moves and Damien following suit. I have to give credit to Belle, who appears to do most of his own stunts besides the insane story high jumps and landings that would shatter anyone’s fibula and tibula. “Brick Mansions” can never quite agree on whether or not it wants to be an insane silly romp through the urban jungle or a serious crime movie and instead settles on cheap action gimmicks and choppy storytelling.

When it does try to be serious, you realize there was never an adequate set-up provided to propel the characters forward or enough sound reasoning to suggest that risking life and limb is worth chasing down these common street thugs. RZA is the weakest choice for acting I’ve seen this year. His emotional range is that of an enraged adolescent, constantly thrashing about while blaming other people and never realizing the consequences of his actions. Halfway through the movie RZA randomly picks up a Jamaican accent which he has a hard time verbally articulating if the script calls for him to speak above a whisper. The most frustrating aspect, without giving away the ending, is that Tremaine never meets a suitable punishment, but is instead revered in the most ludicrous way.

“Brick Mansions” is a technically sound movie. The choreographed escapes and fights (when there is one) are solid and the scenery of our future ghetto is more entertaining than the characters inhabiting it. “Brick Mansions” will be a box office draw because it is Paul Walker’s final role after he tragically died. In one aspect, “Brick Mansion” sadly symbolizes what his career was, one forgettable movie after another, but his on-screen time does remind the audience that he had the potential to do so much better.

Film Review “Under the Skin”

Starring: Scarlett Johansson, Jeremy McWilliams and Lynsey Taylor Mackay
Directed By: Jonathan Glazer
Rated: R
Running Time: 108 minutes
A24 Studios

Our Score: 4.5 out of 5 stars

Jonathan Glazer must have taken a course on Kubrick and fallen in love with his haunting style. That’s the only way I can describe the bizarre first couple of minutes of “Under the Skin” with its foreboding soundtrack and look straight out of “2001: A Space Odyssey”. Just like “2001”, it may take years for people to appreciate the visually eerie and unsettling feast that “Under the Skin” is. While it may seem like a simplistic tale of an alien luring men for nefarious reasons, there is a sense of fondness that slowly creeps in as the movie progresses.

The unnamed alien assumes the skin of an attractive female (Johannson). She drives across the murky land of Scotland in a full sized white van, constantly stopping to ask for directions to men walking on the street, hoping that maybe they’re heading the same way. That’s so she can offer a ride and seduce them into coming back to her place. From the outside, her “home” appears like any other shabby flat, but on the inside it’s a glassy room devoid of color. Pitch black liquid allowing us to only see the lioness and her victim, her articles of clothing slowly being peeled off while the man can’t get his off quick enough. She lures them across the vast emptiness while the nude men slowly sink into the floor and into their demise.

“Under the Skin” never touches upon the existential questions that surround our alien. Why is this thing here? What exactly does it do with the victims? While these are interesting questions, the movie focuses more on the alien living in the human skin. Suddenly our alien from another planet is fascinated by its skin, possibly absorbing the thoughts and feelings of the predecessor that lived and breathed in its flesh. Those stale eyes that stared blankly at everything earlier in the movie now show fear, concern and sympathy. She goes from stalking prey to looking in scared wonder at the human experience.

Our alien rarely talks and only shifts from sexual visual cues to facial twitches of emotions. Despite the vast amounts of graphic nudity, it never feels or looks sexual in nature. The vibes radiating around the alien or the victims appear to be predatorial. Even later in the movie, bare in front of a mirror, it appears to be entranced by the muscle and tissue it stretched over itself. Johannson’s abilities as an actress really shine here as she remains mute while conveying the inner workings of our creature. Oddly enough no one ever becomes suspicious during the 108 minutes that something might be off with this girl.

It’s a fascinating movie to watch because we never feel comfortable enough to relax throughout the first half and in the second half we’re constantly questioning along with this being. There’s a key turning point that I don’t want to give away and it’s definitely one of the more awkward, unsettling moments. What makes the scene so important is that we go from an unnerving first act to a curious second half. Plot points are told through scenes that constantly perturb the audience. Accompany that with the fact there’s little dialogue, it can be a very alienating film for general audiences. Don’t listen to any dissenters; this is definitely the most visually striking sci-fi movie of the year.

Film Review “Transcendence”

Starring: Johnny Depp, Morgan Freeman and Rebecca Hall
Directed By: Wally Pfister
Rated: PG-13
Running Time: 119 minutes
Warner Bros. Pictures

Our Score: 3.5 out of 5 stars

“Transcendence” is a clever “What if?” that lacks the necessary ingredients to keep it thoroughly crisp. In our rapidly changing society and even faster technological advances, “Transcendence” presents it’s take on the infinite possibilities that are constantly being worked on. While on the outside, it may simply seem like artificial intelligence gone mad, “Transcendence” has a gooey philosophical core about our culture’s godly acceptance of robotic machinery.

Dr. Will Caster (Depp) is one of the leading minds behind the creation of A.I. Along with his wife, Evelyn (Hall); they are constantly working hard on a sentient program called PINN. The machine requires an entire room filled with processors to operate and has a kind female voice. A terrorist-like organization by the name of RIFT (Revolutionary Independence From Technology) opposes these ideas and executes a singular one-day attack on the A.I. scientist community, which includes Will. Will is pierced with a radioactive bullet that will slowly kill him and Evelyn has a drastic decision to make: Let Will live out the rest of his days at home or transfer his mind into a computer?

So obviously, Evelyn, along with Will’s friend Max (Paul Bettany), begins the process of taking his mind and uploading it onto the PINN endoskeleton. Ironically Max is philosopher of sorts when it comes to society’s willingness to embrace the high-tech Gods, so it’s a bit odd that he would help Evelyn in her quest to turn Will into a digital Frankenstein. To no one’s surprise, the transfer of human thoughts and emotions into a massive data file is a sweeping success. A digitized face of Will appears on screen and in seconds begins to talk and respond. That’s when Will finally realizes, “Maybe we shouldn’t have…”

This is when the movie kicks into the “computer self-awareness” sci-fi cliché. While most take the trope and ride into a more action driven direction, “Transcendence” seems content with letting the plot simmer until the final few moments. During that time you’re only left to wonder if Will actually is inside that machine or if the programming has become a singular entity using thoughts and feelings as a ruse to obtain more power. Sure he finds a way to use nanobots to restore human limbs and repair tissue in split seconds, but once those miniature robots are inside its human, he’s able to remotely control their actions.

The director, Wally Pfister, is a cinematographer by trade and it definitely shows. While Johnny Depp may be the main drive of this movie, Rebecca Hall turns in one of her best performances since “The Prestige”. Morgan Freeman appears to be a miscast as the generic comic relief that feels unnecessary. The film has a lot of ideas, but it never can really settle on one and excel. The notion that Will’s mind has exceeded human intelligence and become a CPU deity is an interesting one, but the script is constantly juggling clichés that distract from this promising concept. Our character’s plight is one that could change the face of the planet, but never feels like it’s on the world stage. In light of my complaints, I had a blast watching the metaphysical material pop up, sometimes blatantly and sometimes lightly. Not a bad first outing for Pfister, but definitely some room for improvement.

Film Review “Cheap Thrills”

Starring: Pat Healy, Sara Paxton and David Koechner
Directed By: E.L. Katz
Rated: R
Running Time: 85 minutes
Drafthouse Films

Our Score: 3.5 out of 5 stars

I don’t know about you, but the most I’ve spent on a bottle of liquor is $35 and that was on sale. Imagine spending $300 for a bottle of tequila and silencing the waitress’ doubts that you can afford it by flipping out five Benjamins with a quick flip from your pocket (tip included). That’s exactly the kind of money Colin (Koechner) has to spend and that’s barely a drop in the bucket to his unforeseen amounts of wealth.

Our story isn’t about Colin, it’s about Craig (Healy). Despite being in a happy marriage, Craig is quickly and quietly down on his luck. As soon as he steps outside his apartment, he finds an eviction notice on his door. Even as he arrives to his job as a grease monkey, his boss calmly tells him that the company is downsizing and his name was on the chopping block. Instead of going home and telling his wife that he’s now unemployed and they will soon be out on the street, he decides a night at the bar with his friend Vince (Ethan Embry) would be better. That’s when they meet Colin and his wife Violet (Paxton). They’re celebrating her birthday by making $50 bets and soon want to include them in on the fun.

What kind of fun? Colin tells Craig and Vince that the first one to get the depressed looking female at the bar to slap them across the face, gets $200. Vince is game, but Craig is not. On to a strip club where one of them can now go slap a stripper’s rear end for a couple hundred. Vince is game, but Craig is still not. When they’re chased out, Craig is the one who is picked up by the scruff of his shirt by a bouncer and asked if he’s the one who touched the stripper. Colin in the heat of the moment says, “I’ll give you $500 if you hit him first.” After a night of watching a total stranger shell out money like a deranged Secret Santa and seeing his buddy cheerfully take every bet and make his wallet fatter, Colin gives in. He’s not the strongest looking guy so his meager punch is quickly responded with one knockout blow from our beefcake security guard.

As the night progresses, so does the severity and corrupt nature of the bets, but as the money stakes progress, Colin and Vince can’t help but become competitive. As Craig points out in the movie, we’ve already seen hundreds, if not thousands compete in degrading reality TV competitions, that sometimes involve the consumption of horse genitalia, for the almighty dollar. We also can’t forget that history has taught us that men have done worse for far less. Craig and Violet are a couple that Marquis de Sade would have idolized and wished he had written about. While Violet is the obvious reciprocator of watching these increasingly lewd, sexual, violent acts that Colin and Vince do, Craig is the cuckold husband who is the financial means to an end. Although the narrative is lacking and depraved set-ups are sometimes wasted, this is still a devilishly fun watch.

“Cheap Thrills” shows how insane our characters are willing to go for a quick buck while silently whispering in the audiences ear, “How far would you go?” Our society still divides itself over what is morally right and wrong for some easy cash. Companies will still cut safety corners to save a dime while people will gladly lineup for the next season of bug eating or starvation on “Survivor”. So I ask myself…would I punch the bouncer of a strip club in the face for $500 with the repercussion being a solid blow to my own? Make it $2,000 to help cover the cost of potentially losing my dental crown and you got yourself a deal.

NOW PLAYING EXCLUSIVELY AT AN ALAMO DRAFTHOUSE THEATRE NEAR YOU!

Film Review “Sabotage”

Starring: Arnold Schwarzenegger, Sam Worthington and Olivia Williams
Directed By: David Ayer
Rated: R
Running Time: 109 Minutes
Open Road Films

Our Score: 2.5 out of 5 stars

First thing I did when I got home from this movie was Google Arnold Schwarzenegger’s age. At this point in life I’m just hoping to look half as fit as he does at 66. In fact I should pray I live that long. The reason that bit of insignificant trivia was at the forefront of my mind is because he can still be a believable action star. After watching ‘Sabotage’, I believe that Schwarzenegger can pull off the lead in as many violent movies he wants to for the next decade. It’s too bad this potential return to form was sabotaged by an obnoxious cast of characters.

Breacher (Schwarzenegger) leads an underground group of mercenary-style DEA agents in a Cartel bust that goes bad when $10 million goes missing by the end of the mission. As much as it would help to visualize my complaints, I don’t feel like rattling off the seven crass biped creatures that make up his squad. They each carry around their own undesirable traits and probably still laugh at their own flatulence in the bathtub. After it becomes apparent that someone in this team has taken the money, the government takes it upon themselves to begin months of questioning and stalking that turns up nothing. But once the government gives up it’s investigation, things become complicated when it appears that the Cartel is now killing them one-by-one. Instead of the federal government becoming interested in an international criminal organization killing DEA agents, an Atlanta detective, Caroline (Williams) picks up an invested interest in the matter.

If it wasn’t for Schwarzenegger and Williams, I would have disliked everything. Despite tallying the highest kill count, Breacher feels like the most sane of the bunch. He seems to be the only one of the group that doesn’t abuse drugs, have a bipolar disorder and is able to carry a civil conversation that doesn’t involve constantly referring to the inquisitive Caroline as a stripper. His ensemble of commando DEA agents come off as a band of vulgar misfits that would much rather get in a fight in the strip club than worry too much about who’s picking them off systematically. I was hoping that the mystery murderers would at least speed up the process.

‘Sabotage’ is mild on the action, but shockingly heavy on the gore. I would have enjoyed more shootouts over people being disgustingly nailed to ceilings and bloated corpses wrapped in chicken wire. This movie goes with a mystery/thriller angle, but falls short of materializing any suspense or intrigue. I’m suppose to be on the edge of my seat with bated breath, but the juggling act of drama, suspense and action has them dropping the ball on multiple occasions instead of performing a trifecta in the genre department.

Despite the ineffective writing I did find myself entertained, but only when Schwarzenegger was realizing not everything has to be delivered in a stone cold tone and when detective Caroline entered a scene equipped with comebacks and pleasantries. I have to touch on these two again because they had a surprising chemistry. Even when the script finally calls for them to “do the deed,” it doesn’t feel forced, but more like a natural comedic break that allows for plot to move forward. Let’s just hope someone realizes Schwarzenegger’s talents are alive and well and shouldn’t be wasted as the sands of time slowly tick away.

Film Review “Divergent”

Starring: Shailene Woodley, Theo James and Zoe Kravitz
Directed By: Neil Burger
Rated: PG-13
Running Time: 139 minutes
Summit Entertainment

Our Score: 1 out of 5 stars

War has obliterated the planet, leaving what survivors there are to take refuge in a crumbling Chicago landscape. The residents have divided the city into five factions: Abnegation, Amity, Candor, Dauntless and Erudite. By the age of 16, this bizarre society forces their teens to take an aptitude test that will determine which faction they are ideal for. Looks like it’s time for another movie based off a young adult novel that can’t differentiate itself from it’s siblings.

Beatrice (Woodley) is one of those teenagers mentioned above. She was born into an Abnegation family, but has always yearned to be apart of the Dauntless faction. Why? Who knows. She goes into to take her “test”. All she does is drink a concoction which induces bad acid trip visions. Once she awakens she’s told that she’s a divergent, someone who can actually fit perfectly into any faction. Her “test” administrator tells her to leave and not speak of the test results to anyone. Shadowy conspirators. Mysteries begging to be uncovered. A lot of decent ideas are set-up in the first five minutes followed by an over two hour rough tumble downhill.

Despite having an inconclusive test, on the selection day, Beatrice chooses…you guessed it…the Dauntless faction. And why? Who knows. Dauntless is the military wing of this society, although every time they make an appearance they seem more like adrenaline junkies as they scale buildings and run everywhere. She also decides to go by the name Tris now. Don’t even think about asking me why. We meet her boot camp friend and foes. Christina (Kravitz) turns out to be her true to heart tag-a-long companion. Meanwhile she has to deal with the sophomoric insults of Peter (Miles Teller) and the constant scrutiny of her leader Eric (Jai Courtney). There’s also her instructor and mandatory love interest, Four (James). The first half is an unnecessarily bloated prologue coupled by a few harmless laughs and way too much water treading. By the time things start picking up, we don’t know a whole lot and we don’t care.

The theme, individualism and being skeptical of authoritarian regimes, is the movie’s hammer and they bash you across the face with it repeatedly. This movie not only steals cliches, it repeats the same ones throughout the movie. There’s a dystopian world waiting to be explored along with a power struggle wanting to be uncovered, but this movie would much rather focus on training montages and capture the flag. The bright spot is definitely the acting. Woodley has shown in the past that she’s fantastic and really able to embody whatever role she’s given. She really gives it her all in this and is incredibly likable. The supporting characters played by James, Kravitz and others live and breathe their characters. This cast is also surrounded by an established group of actors and actresses like Kate Winslet, Ashley Judd and Ray Stevenson. Why couldn’t they hand something readable to these people?

At a certain point I merely entertained myself with questions. Like…what kind of war happened to where the remaining survivors thought a society based on dividing their people into factions that hate each other would be a good idea? Why is it one of the largest cities in the United States was spared full blown devastation? If people are given the free will to choose what faction they join, what’s the point of the test? These questions and more will never be answered in the near two and a half hours you’ll be sitting in the theater. Maybe the answers are in the book. Maybe I should go pick up a copy and figure out what’s going on. But I’m afraid if I go and read the book, I’ll be convincing Hollywood to keep up this young adult movie trend and I’m afraid if you go see “Divergent” this weekend, I’ll have to see the sequel.

CD Review: Babymetal “Babymetal”

Babymetal
“Babymetal”
BMD Fox Records
Produced By: Tsubometal, TAKEMETAL, Kyoto, Yuyoyuppe
Tracks: 13

Our Score: 3.5 out of 5 stars

I’m rarely at a loss for words when listening to a song. Babymetal is the latest sensation to hit Youtube and leave American viewers in confused silence. It’s not because we’ve never seen this before, but because we’re seeing two opposite things being slammed together into one creation. On one side, you have a metal band that could easily join the flooded generic metal market. On the other side, you have a trio of underage Japanese girls in skirts and pigtails singing like they’re hoping to be the next big pop sensation to screeching guitars. So. Seriously. Where do I begin?

Babymetal combines throat crushing metal riffs and blast beats with synthetic harmonies and ecstasy induced dance club bass tracks. Suffice to say, a hardcore Babymetal fan could easily show up to a concert and headbang to their heart’s content while fist pumping a glow stick and chanting to songs about eating chocolate. Come on, even the blackest souls in the metal community love chocolate. There are plenty of artists who’ve tried to breed different genres together and have only been met with criticism. People will shrug them off as the latest niche with no lasting impact. But what makes Babymetal linger in our mind longer? It’s a clever approach. They visually play into the perverse mind of a male dominated fan base. For others, it’s a humorous and bewildering experience to see adorable Japanese girls dancing across the stage to death metal.

But how do they stack up musically? It’s heavy and catchy with whatever style it’s blending. It feels like you’re about to watch a violent, cheery anime. The album flies through different styles of both sounds. Songs switch things up by playing death metal, power metal and heavy metal. For every riff they chug differently to, the girls switch up and down the Top 40 list. We’ll get those intermittent breaks of techno, rap and even dubstep, but that’s not say they both stray away from that formula and settle on a mellow Sevendust sound or belt out that heavy rock ballad. Other times you feel like you’re listening to a Dance Dance Revolution song or the latest rave mix. While every song feels unique, the album is very top heavy. Once you’ve passed through the first seven songs, you feel like there’s nothing new to be offered and they falter in delivering a complete album. They do end on a strong note with their final song.

While there’s definitely some songs I’ll be listening to in the future like “Megitsune” and “Akatsuki Akatsuki”, overall they’ll need to start getting past the initial shock value and begin to focus on their work. Presentation is nothing without craft unless your presentation is consistent and the main attraction. In this case, the presentation is cemented in their age. If they simply started trading out singers for younger girls, they’ll appear shallow and potentially show their true colors as a quick cash grab in the same vain as “American Idol”. If they let time take it’s course, the extreme minded perverts will feign interest as their adolescents idols show signs of maturity. What’s left will be those who are simply interested in the music and looking for the next big thing. They need to show those people they’re willing to take the music into a fresh theatrical direction and continue pushing deeper into this bizarre blend of J-Pop and hardcore metal. It’ll definitely be interesting to see if they can move past the novelty they’ve created.

Track Listing:
1.) Babymetal Death
2.) Megitsune
3.) Gimme Choco!!
4.)li ne!
5.) Akatsuki Akatsuki
6.) Doki Doki Morning
7.) Onedari Daisakusen
8.) 4 no Uta
9.) Uki Uki Midnight
10.) Catch Me If You Can
11.) Akumu no Rinbuykyoku
12.) Headbanger!!
13.) Ijime, Dame, Zettai