Film Review: “The Happytime Murders”

THE HAPPYTIME MURDERS
Starring:  Melissa McCarthy, Elizabeth Banks and Joel McHale
Directed by:  Brian Henson
Rated:  R
Running time:  1 hr 31 mins
STX Entertainment

It’s been almost exactly 35 years since I met Jim Henson.

In September 1983 I was at the World Science Fiction Convention in Baltimore, where one of the films being promoted that year was “The Muppets Take Manhattan.”  Knowing Mr. Henson was going to be in attendance I took a couple photos with me.  One of him and Kermit the Frog taken behind the scenes of “The Muppet Movie” and one from “The Dark Crystal.”  I tracked him down and he very graciously signed both.  I got lucky because he happened to be walking around with Gary Kurtz, who produced “The Dark Crystal,” so I got his autograph also.  He was very friendly and, in speaking with him, I could tell he had a great sense of humor.  Which tells me he would love his son’s latest film, “The Happytime Murders.”

(Ominous voice) “In a world where humans and puppets live together….”

Meet Phil Phillips (voiced by Bill Barretta).  He’s a former puppets cop turned private detective.  Actually, he’s been the ONLY puppet cop.  Due to a mishap that led to the killing of an innocent bystander, Phil was fired and a law was put into place forbidding puppets to be police officers.  One day Phil is hired by a mysterious lady-puppet.  His leads take him to an adult bookstore, where he runs into Bumblypants, one of the puppet characters of the popular 80’s kids show “The Happytime Gang.”  As Phil investigates another part of the shop, Bumblypants is murdered.  Soon, other members of the cast are also brutally murdered and the finger points at Phil.  Can he clear his name?  Maybe.

A fun combination of live-action and puppets, “The Happytime Murders” is an outrageously raunchy look at what life may have been like on a certain “Street” if that show had taken place in the worse part of the worse town ever.  In the world of “Happytime” humans and puppets co-exist, though the puppets are often horribly treated.  Call it “Apuppethied.”  Phil’s former police partner, Detective Connie Edwards (McCarthy) is called in to investigate the case and must reluctantly team up with Phil before the entire cast of the show is murdered.  Along the way they must deal with a world full of sex, drugs and violence.  This isn’t your parent’s “Street.”

Let me say this up front (or in the middle):  THIS IS NOT A KIDS MOVIE.  Don’t be fooled by the puppets and the bright lights.  Taking a child to this film will traumatize them for life.  So, again, unless you want to see a puppet re-enactment of Sharon Stone’s famous reveal from “Basic Instinct,” or want to explain to your little one what an eight-armed reach-around is, leave them home.  That being sad, THIS IS AN ADULTS MOVIE.  The jokes are funny, the visuals outrageous and the overall mood of the film will put a smile on your face.  The combination of human and puppet characters is well portrayed, and as the film goes on, you forget your watching puppets.  They become believable characters, which is what you need to make a film work, especially a comedy.  Like “Who Framed Roger Rabbit?,” the melding of human and non-human characters is seamless.  Well, except for the seams on the puppets.  J

Film Review: “Crazy Rich Asians”

CRAZY RICH ASIANS

Starring: Constance Wu, Henry Golding, Michelle Yoeh
Directed by: Jon M. Chu
Rated: PG-13
Running Time: 2 hrs
Warner Bros.
 
Romantic comedies can often be a dime a dozen with about as much substance contained in the atmosphere of Mars. Of course, there are brilliant, diamond-like exceptions such as 2017’s “The Big Sick” or 2012’s “Silver Linings Playbook.” While the new “Crazy Rich Asians” may not be nearly as creative or fulfilling as those movies, it’s still at least as good as an unpolished sapphire.
 
Directed by Jon M. Chu, best known for such “legendary” works as “G.I. Joe: Retaliation” and “Now You See Me 2,” “Crazy Rich Asians” is based upon the 2013 novel of the same name by Singaporean/American novelist Kevin Kwan. It begins in a flashback when Eleanor Young (Michelle Yoeh, “Crouching Tiger, Hidden Dragon”) is denied entrance into a posh New York City hotel when the white manager sees that she is of Chinese descent. What the racist manager doesn’t know is that Eleanor and her husband, whom we strangely never meet during the movie despite being very much alive, are the hotel’s new owners. It’s a scene that sets up her fierceness, which we later see in an unfavorable light.
 
Flash forward to present day when brilliant American economics professor Rachel Chu (played sweetly by Constance Wu, “Fresh Off the Boat”) is invited by her longtime boyfriend Nick Young (British/Malaysian actor/model/TV host Henry Golding) to his best friend’s wedding in Singapore. However, charming Nick has not been completely forthright with Rachel when he reveals on the plane that he comes from a wealthy Singapore family, the scope of which she is too naïve to fathom yet.
 
Upon their arrival in Singapore, Rachel is swept away by a night out in Nick’s vibrant hometown with his best friend and his fiancé. Despite descriptions he gives of his family and their business empire, it’s not until Rachel visits her outlandish college friend Peik Lin Goh (Awkwafina, “Ocean’s 8”) that she learns just how influential the Young family is. The real problem, though, is not necessarily the vast gulf between Nick’s upbringing and hers. Instead, it’s the fact that she is an American of Chinese descent and not directly from China, which is something Eleanor is less than fond of.
 
So, between Eleanor and a myriad of jealous, petty Singapore girls who do everything they can to drive her off, Rachel has her work cut out for her if she wishes to see her relationship with Nick continue.
 
“Crazy Rich Asians” has nothing all that new to offer to the romantic comedy genre. It has all the prerequisite boxes you can check off like clockwork – resistant parents of one or both members of the couple; crazy, jealous exes; a goofy best friend that can always be depended upon; a goofy friend that no should ever count on; an impending marriage of some sort; etc. In that sense, “Crazy Rich Asians” is about as crazy as a block of wood.
 
Despite its stereotypical characters and plot we have seen a plethora of times in various forms, “Crazy Rich Asians’ still manages to be an entertaining flick. There are plenty of genuine laughs to be had, especially in scenes involving the hilarious Awkwafina and/or her character’s equally goofy father played by “Hangover” alum Ken Jeong. The romance itself will undoubtedly pull at some heartstrings plus there is a fantastic side story of eventual female empowerment that will make anyone feel good.
 
All in all, “Crazy Rich Asians” is a great date flick for any couple of any age, but don’t expect go into expecting to see something that truly separates itself from general, romantic comedy fair.

DVD Review “Muppet Babies: Time To Play!”

Voice Cast: Matt Danner; Melanie Harrison; Dee Bradley Baker; Ben Diskin; Eric Bauza; Jessica DiCicco; and Jenny Slate
Number of discs: 1
Rated: Not Rated
Studio: Walt Disney Studios Home Entertainment
DVD Release Date: August 14, 2018
Run Time: 92 minutes

Our Score: 4 out of 5 stars

Growing up in the 80’s, I was a huge fan of the original “Muppet Babies” series and when I heard that the show was being re-imagined for Disney Junior audience, I couldn’t have been happier, now with a 6 year old of my own to enjoy. Let me start with the fact that my daughter honestly has never been a fan of The Muppets at all, so I was hesitate introducing this show. Let me tell you from the moment that theme song hit her eyes lit up and she was hooked. Since her first viewing, this show has people her favorite to watch, she has seen each episode numerous times now.

The voice cast is legit for this re-imagination. There is some amazing talent brought in here for this show including Matt Danner as Kermit the Frog; Melanie Harrison as Piggy; Dee Bradley Baker as Animal; Ben Diskin as Gonzo; Eric Bauza as Fozzie Bear; Jessica DiCicco as a brand-new Muppet Baby, Summer Penguin; and Jenny Slate as Miss Nancy. Disney went all out for this one and delivered for the parents as well as kids.

“Muppet Babies: Time To Play!” is the first volume DVD released for this The episodes included “Sir Kermit the Brave/Animal Fly Airplane”; “Super Fabulous vs. Captain Icecube/Piggy’s Time Machine”; “The Great Muppet Sport-A-thon/You Say Potato, I Say Best Friend”; “Hatastrophe/Fly South”; and even two bonus episodes “How Kermit Got His Groove/One Small Problem” and “Playground Pirates/The Blanket Fort”.

There are also 10 “Muppet Babies: Show & Tell” Shorts with each of the characters. Other special features include The Great Muppet (Short) Musical and 6 Music Videos including “What’s So Scary About The Dark?”; “Never Have To Say Goodbye (To The Summer)”; “Get Back In The Game”; “Good Things Come To Those Who Wait”; “You Can Be A Dancer”; “Muppet Pirate Shanty”. Honestly I was impressed to see so many special features on a kids DVD but this one is jam packed! Can’t wait for future volumes!

Concert Review – Michael McDonald – Lawrence, Kansas

 

REVIEW AND PHOTOS BY DAN LYBARGER

 

Michael McDonald

The Lied Center, Lawrence, Kansas

August 12, 2018

 

If there is a way to age gracefully, it might be to simply admit you’re no longer young.

Throughout his 90-minute set at the Lied Center at the University of Kansas in Lawrence, Kan., on August 12, Michael McDonald made no attempt to pass himself off as anything other than a 66-year-old man.

When he introduced vocalist Drea Rheneé, the former Doobie Brothers singer and keyboardist praised her chops and that she relieved the crowd from the “middle-aged ugliness” of the rest of the band. He added, “You’ll notice I said ‘middle-aged.’ Who am I kidding?”

With a crowd that was primarily within throwing distance of that number, that wasn’t a problem. Part of the reason McDonald can still put on a good show is that he and his tunes were always for grownups. In both his solo work and his songs with his former band, McDonald has always sung about heartbreak that’s long removed from the teenage experience. In “Real Love” and “What a Fool Believes,” McDonald softly laments he or someone else has broken up and that it has happened many times before.

This may explain why the songs still sounded good last Sunday night and why people who aren’t trying to recapture their youth can listen to him without embarrassment. McDonald’s smooth as marshmallows delivery doesn’t deserve the label of “yacht rock,” because his roots are in St. Louis where the river vessels look a little different.

As he performed new tunes from last year’s Wide Open album like “Hail Mary” and “Just Strong Enough,” McDonald’s voice cracked just enough to prevent his band from slipping into easy listening. For the latter he even stood up from his piano stool for a few seconds, giving the song a feeling of vitality that wouldn’t occur if he were sitting like the audience.

It also helps that McDonald still has his vocal chops and nimble fingers. When he broke into familiar tunes like “Minute by Minute,” he’d begin them by adding jazzy touches to keep the arrangements from seeming too robotic.

He also avoided hogging the spotlight. He’d usually leave the showiest solos to guitarist Bernie Chiaravalle, sax player Mark Douthit and keyboardist Pat Coil. The three put just enough of a sting in the arrangements to keep the songs from being mellow enough to induce napping.

Rheneé had the unenviable task of replicating Patti LaBelle’s verses during the Burt Bacharach/Carole Bayer Sager hit “On My Own,” which may be most ironically titled duet ever. Fortunately, she easily kept up with LaBelle’s vocal gymnastics.

McDonald’s midwestern drawl is surprisingly clearer than his singing voice, but his stage banter was remarkably sincere. Having grown up in the St. Louis suburb, Ferguson, Mo., his later performance of Marvin Gaye’s “What’s Goin’ On” was expectedly moving, and he was clearly aware the issues Gaye lamented are sadly still with us.

Thankfully, so is McDonald, who helped open the Lied Center’s 25th anniversary on a high note.

Set list:

Yah Mo B There

Here To Love You

I Keep Forgettin’

Find It in Your Heart

Just Strong Enough

I Can Let Go Now

Sweet Freedom

On My Own

Hail Mary

Beautiful Child

Half Truth

Minute by Minute

What a Fool Believes

Encore

What’s Goin’ On

Taking It to the Streets

 

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Concert Review: “A Paranormal Evening with Alice Cooper” – Kansas City

 

A Paranormal Evening with Alice Cooper

Kauffman Center for the Performing Arts ,  Kansas City, Missouri

August 6, 2018

REVIEW BY J.R. DEETER

 

 

First off, let me just say that if you get an opportunity to see a concert performance at the Kauffman Center in Kansas City you should absolutely do so…..it is fast becoming my favorite venue to see concerts.

I have always been a casual fan of Alice Cooper and the “hits.”  I admit I really didn’t know many of the album songs….ones long-time fans know, but for this show, it didn’t seem to matter.   I really enjoyed every minute of the entire playlist.

Opening with a non stop barrage of Brutal Planet, No More Mr. Nice Guy, Under My Wheels and Billion Dollar Babies, you could tell this was going to be an awesome night.   As promised, this was to be “ A Paranormal Evening” and the stage set delivered….ghoulish and dark….strange, frightening elements filled the space, everything from small doll sized things….a large box, from which minions provided several props to Alice throughout the night, including a dancing demonic creature, a shocking electric chair and, of course, a guillotine, which eventually was used for the beheading of Cooper, to the screaming delight of the near capacity audience.

The song Lost in America is now one of my favorites….this was one I hadn’t heard before. Same with Woman of Mass Destruction.  How could I have missed those over the years?

Poison…..Feed My Frankenstein….even a bit of a slow down for Only Women Bleed didn’t drop the level of energy of the band, or the level of love from the crowd for this 70 year old Godfather of Shock Rock.

There were a couple of “rest periods” when Alice exited the stage for the obligatory solos by members of the band….every one of them very entertaining and capable on their instrument.  A special shout-out to Nita Straus, kicking ass on lead and rhythm guitar while providing backing vocals.

Wrapping up the show with I’m Eighteen and the confetti filled rousing rendition of School’s Out left my ears ringing and my heart filled with joy.  I had finally experienced Alice Cooper, clearly not in his prime, but certainly still able to deliver a killer performance.

(My .5 deduction is for not playing 1977’s You and Me.  I’m a former 80’s DJ, and that was a staple JAM we played often…great tune.)

Film Review – “The Cakemaker”

THE CAKEMAKER
Starring: Tim Kalkhof and Sarah Adler
Directed by: Ofir Raul Graizer
Rated: Unrated
Running Time: 1 hr 53 mins
Strand
 
Sometimes it takes just a little patience for a cinematic experience to blossom into a piece of work that can be appreciated for its artistic endeavor. While the Israeli drama “The Cakemaker” may be littered with delicious looking pastries, it takes about half of its nearly two-hour running time before it offers something you can sink your teeth in to. Directed and written by Israeli filmmaker Ofir Raul Graizer (“Dor”), “The Cakemaker” is slow to develop during that first half and it leaves us wondering if it is going somewhere. Thankfully, it saves itself from blandness and leaves us wondering something entirely at the end.
 
Premiering at this year’s 52nd annual Karlovy Vary International Film Festival in the Czech Republic, “The Cakemaker” introduces us to Israeli Oren Nachmias (Roy Miller, “When Heroes Fly”) when he steps into a Berlin bakery where a young, talented German baker named Thomas (Tim Kalkhof, “Homeland”) is working. In quick order it is revealed that Oren is living a secret life as a gay man while maintaining the life of a happily married family man in Jerusalem. Their affair continues for a quite some time as Oren routinely travels to Berlin on business. However, it all comes to an end when Oren is killed in a car accident after returning home on one of his trips.
 
It takes a while for him to find out, but when Thomas does he is left in a daze. Armed with information he gleaned from Oren during their relationship, Thomas travels to Jerusalem to find Oren’s widow, Anat (Sarah Adler, “Foxtrot”). While keeping his knowledge of Oren a secret to himself, Thomas eventually garners a job at Anat’s struggling kosher café. His pastries, however, turn her business around, much to the chagrin of some in Anat’s Jewish neighborhood.
 
It’s all quite dry and laborious, but there is a tangible creepiness to Thomas’s actions as he inserts himself deeper and deeper into his former lover’s life. He even goes so far as to wear a pair of Oren’s swimwear and run in his jogging shorts. What Thomas doesn’t count on is the attraction that the still grieving Anat begins to develop for the troubled German. It puts him in awkward position, but it also appeals to his yearning to experience Oren’s life.
 
Graizer’s story is nothing extraordinarily original, yet he inserts enough small twists in it to make it passably interesting. The relationship between the two men is poorly developed in the beginning, which makes it difficult to become invested in the story. Important elements are brought to light much later, which helps the second half of the film but still leaves the first half high and dry. Graizer’s pacing is also sluggish with too many moments of utter silence with nothing of interest transpiring. Yawn.
 
Miller’s performance is just a blip on the radar and Adler’s is merely satisfactory without enough depth of emotion. Contrary, Kalkhof wears a terrific mask on his face as Thomas is a perplexing character to figure out. What exactly is his end game? Does he want to live a lie, or does he want to do harm to everyone in the middle of the night? His blue eyes speak of someone who is moving along with clear thoughts, but there is a churning, pent-up ocean of emotion rolling around inside him.
 
“The Cakemaker” is a solid endeavor of average cinema with an ending that at least everyone can sit around and debate for a while.

Film Review – “BLACKkKLANSMAN”

BLACKkKLANSMAN
Starring:  John David Washington, Adam Driver and Topher Grace
Directed by:  Spike Lee
Rated:  R
Running time:  2 hrs 15 mins
Focus Features

Spike Lee and I go way back.

The movie theatre I managed in Baltimore was in an urban area.  I proudly showed “She’s Gotta Have It” and “School Daze.”  I was (and still am) angry that “Do the Right Thing” wasn’t nominated for a Best Picture Academy Award and I was thrilled to meet him and speak for a few minutes in Washington D.C. while he very graciously signed my “Malcolm X” script.  I should also mention that I silently cursed him when he shot a reel of his film “Crooklyn” in the widescreen format but intentionally didn’t adjust it, giving the film a look that caused many customer complaints and passes given out.  He’s made more good movies than bad and this week he’s here with one of his best.

It’s the 1970s.  Ron Stallworth (Washington) is a black police officer in a time where, if you’re the first one on the scene of a crime, your fellow officers may think YOU are the perp.    One day, while reading the newspaper, Ron comes across an ad for the local chapter of the KKK.  As a joke, he sends in for his membership card and is delighted to get it.  When Ron is invited to meet the membership, he agrees, sending fellow officer Flip Zimmerman (Driver) in his place.  Zimmerman is Jewish and has to learn to keep his emotions to himself when surrounded by the idiot gang he finds himself a part of.  As Ron/Flip get deeper into the group, they soon find themselves chatting up David Duke, then the first Grand Wizard of the KKK, today pretty much a punchline.  When Duke is scheduled to come to Ron’s town, things go from comical to serious as the groups true goals are announced.

Powerful and pertinent, “Blackkklansman” is a film that deals with both the past and the present.  Director Lee and co-writers Kevin Willmott, Charlie Wachtel and David Rabinowitz have created a world that anyone over 21 will recognize.  There is humor but then there is horror.  Not violent horror, but the horror at the spoken word.  Can people truly be this vile?  Sadly, yes.

As with many of Lee’s films, a great cast has been assembled.  I was surprised to learn that leading man Washington is the son of Denzel.  If this performance is any indication, Pop better keep an eye on the rear view mirror.  He plays Stallworth with the dignity required, something that wasn’t easy to display in the early 1970s.  Driver is equally good here.  This is the first thing I’ve seen him in since the last two “Star Wars” films and – SPOILER ALERT – though as a filmgoer I will never forgive him for killing Han Solo, I will continue to recognize him as an actor to watch.  As David Duke, Grace is pitch perfect.  He doesn’t scream out his hatred, like his dimwit followers.  He oozes it, like the politician he would later become.

“Blackkklansman” took home the Grand Jury Prize at this year’s Cannes Film Festival and I look for it to be a front runner when the Oscar nominations roll around.  Do you hear that, Academy?  I don’t won’t to get angry again!

Film Review: “The Meg”

THE MEG
Starring:  Jason Statham, BingBing Lee and Rainn Wilson
Directed by:  John Turtletaub
Rated:  PG 13
Running time:  1 hr 53 mins
Warner Bros.

If you’ve learned anything about me over the years, you know that “Jaws” is my favorite film.  That being said, every time a new shark themed film shows up (“Deep Blue Sea,” “Open Water,” “The Shallows,” etc) I have to put my blinders on and do my best not to compare the film to “Jaws.”  However, when the film in question steals whole sequences from the film, I may bet a little testy.

We meet Jonas Taylor (Statham) as he and his rescue team are trying to save the crew of a submerged vessel.  However, just as you think they’re all going to survive, they are attacked by “something,” causing Taylor to leave behind a couple teammates, who inevitably die.  Fade to black and jump ahead a few years.

Welcome to the bottom of the ocean, inside the Mariana Trench.  A bizarre philanthropist (Wilson) has financed an expedition to the trench with the purpose of trying to go deeper.  The idea is that it’s so cold at the bottom of the ocean that maybe you’re not on the ocean’s floor.  Maybe you’re just blocked.  Crazy guy arrives at his sea platform, which is full of scientists and a cute Chinese family (older father, daughter and granddaughter).  The mission is a success, but while down below their sub is attacked by “something.”  Only one person can help them…someone whose life was changed by “something.”  But what?

With a few good special effects shots and a cast that’s trying way too hard, “The Meg” is passable entertainment.  A giant shark that can actually eat people whole is kind of cool, though the filmmakers can’t seem to decide on how big it is.  When it’s out to sea it’s HUGE, knocking over boats and gobbling up people like cocktail peanuts.  But when it comes close to shore, where hundreds of people are bathing, it easily swims by, not one person noticing the 60 foot monster that just passed by.

Director Turtletaub has directed four films since 2004, three of them starring Nicolas Cage, the master of over-emoting.  He would have made a fine substitute to Statham, who has proven himself in other films.  The slow parts between shark appearances start to add up, and the film feels every bit of its almost 2-hour run time.

To steal (and paraphrase) from Woody Allen in “Annie Hall,” a film is like a shark.  It has to keep on moving or it will die.  And what we’re dealing with here…is a dead shark.

Film Review: “Three Identical Strangers”

THREE IDENTICAL STRANGERS
Starring: Robert Shafran and David Kellman
Directed by: Tim Wardle
Rated: PG-13
Running Time: 114 minutes
Neon
 
“Three Identical Strangers” is the best documentary thus far in 2018 and one of the best overall films of the year. The well-deserved recipient of a U.S. Documentary Special Jury Prize for storytelling at the 2018 Sundance Film Festival, “Strangers” is a compelling work that is thoughtful, compelling, moving and leaves a lasting impression for many moons after the credits have faded to black. Even though it’s been 38 years since long lost triplets miraculously reunited, it remains a story with ripple effects being felt to this very day.
 
Initially, “Strangers” reels us in with an infectious enthusiasm we feel radiating from Robert “Bobby” Shafran who describes with a gregarious smile how he stumbled upon his identical twin brother, Edward “Eddy” Galland. Their reunion made headlines across the country, but it became even crazier when a third brother, David Kellman saw doubles of himself in a newspaper. The triplets became overnight sensations and appeared on a multitude of media outlets at a blistering pace, which was only matched by their wild partying. Both David and Bobby recount those days, as well as how they started families, with great fondness. However, things start to take dark turn as “Strangers” begins to develop a grittier, tragic tone with its probe into how they were separated in the first place.
 
As it turns out, the triplets improbable, 1980 reunion in New York set a series of disturbing events in motion that began with a negative meeting between the brothers’ angry parents, who were upset their sons had been intentionally split apart, and an adoption agency with some shadowy backers. It’s paired with an author/journalist in Texas who uncovers a secret study that, as David describes, turned the brothers into lab rats.
 
The sinister background to it all begins with late child psychiatrist and psychoanalyst Dr. Peter Neubauer (1913-2008). Neubauer was an Austrian Jew who was able to escape his Nazi-controlled country by fleeing into neutral Switzerland where he completed his training before moving in 1941 to New York City. It sounds heroic enough until we learn that like the Nazis he fled from, Neubauer initiated an inhuman, concentration camp-like experiment by orchestrating a program in which several sets of twins and one set of triplets, the brothers in “Strangers,” were deliberately separated during infancy as part of a clandestine “nature vs. nurture” experiment. Even more shocking is that it was the Jewish Board of Family and Children’s Services who helped Neubauer with a program that led to a variety of mental health issues among its unwitting participants as they entered adulthood.
 
Naturally, Bobby and David, among others, continually try to demand answers, but he ended the program in 1980, Neubauer, realizing his work would be controversial, had his study sealed upon his death at Yale University until the year 2066, thus insuring its participants would be dead by the time its findings would be released to the public.
 
“Strangers” is a superb example of documentary filmmaking as it entertains, educates and causes thought provoking discussion of the subject matter. All of director Tim Wardle’s interview subjects are engrossing to listen to and his overall storytelling flows naturally like winding stream. His work shines a light on a dark tragedy that almost disappeared into the shadows. This is a film that should not be missed.

 

Concert Review: Descendents, Buffalo, NY

2018 Tourage
Descendents, A Wilhelm Scream, Pavers
Friday, August 3rd, 2018
River Works, Buffalo, NY

Our score: 4 out of 5 stars

One of the biggest names in punk rock the Descendents kicked off another leg of their ongoing “2018 Tourage” tour on August 3rd at the River Works Complex in Buffalo, NY, The tour which first kicked off in April of this year and has the So-Cal punkers playing all around the US and various other countries through December. Also on the bill for the evening was the Massachusetts based A Wilhelm Scream and the Scott Reynolds (ALL) fronted Pavers.

Having never had the chance to see the Descendents before I jumped on the opportunity when it was announced they would kick off a new leg of their current “Tourage” tour in nearby Buffalo. The bands famous Milo logo adorned my skateboard growing up so it was great to finally see a band I had been following for so long. Opening up the show was former ALL front-man Scott Reynolds recently re-formed group the Pavers. Though the band had a couple rough spots during their thirty minute set Reynolds kept things moving like the seasoned veteran he is forging forward with a smile on his face which showed the growing crowd he and his band mates were there to have fun doing what they love performing tracks from the groups various albums. With little time between sets and down one member due to a missed flight A Wilhelm Scream hit the stage with a burst of energy that instantly ignited the multi-generational crowd. Vocalist Nuno Pereira worked the stage left, right and up and down for that matter as the front-man was in constant motion adding to the bands fast paced, frantic approach. Even if the band was starting out one in the hole you would have never know as the band sounded great and were extremely tight as they helped bring the crowds energy to an even higher level.

Last but not least the Descendents took the stage helmed by founding member drummer Bill Stevenson and long time vocalist Milo Aukerman. For the next ninety minutes the band completely shredded over thirty five classic Descendents tunes including “Clean Sheets”, “Coffee Mug” and the guitar-tastic “Coolidge”. After the bands initial twenty nine song set fans were treated to a mini ALL reunion when former vocalist Scott Reynolds joined the Descendents (Minus Aukerman) for renditions of the ALL songs “Fool” and “Dot”. Needless to say this caused the crowd (myself included) to go absolutely nuts. After the brief reunion Aukerman would return performing probably my two favorite Descendents tracks “Bikeage” and “Good Good Things” along with a handful of other great tunes before taking their bows and waving goodbye.

It was clearly a night of nostalgia and fun as each of the bands on the tour brought their own unique brand of punk rock to the near capacity Buffalo venue. With the Descenedents history stretching back to 1977 it would be expected for them to lose a step or two however the band sounds just as fresh and powerful as they did at their inception. With the tour running the remainder of 2018 you owe it to yourself to catch one of the many shows scheduled on the “Tourage” run as it is the perfect setting for ALL generations of punk loving fans.

Set List:
1.) Suburban Home
2.) Everything Sux
3.) Hope
4.) On Paper
5.) I Wanna Be a Bear
6.) Rotting Out
7.) Victim of Me
8.) Get the Time
9.) I Like Food
10.) Shameless Halo
11.) My Dad Sucks
12.) Clean Sheets
13.) Testosterone
14.) Van
15.) Nothing With you
16.) I’m Not a Punk
17.) Silly Girl
18.) I Don’t Want to Grow Up
19.) Who We Are
20.) Weinerschnitzel
21.) Myage
22.) Without Love
23.) Global Probing
24.) Coffee Mug
25.) When I Get Old
26.) Coolidge
27.) Thank You
28.) Descendents
29.) Fool (ALL Cover)
30.) Dot (ALL Cover)
31.) ALL
32.) No! All!
33.) ‘Merican
34.) I’m the One
35.) Bikeage
36.) Smile
37.) Good Good Things
38.) Pep Talk

Concert Review: Slayer, Scranton, PA

Slayer, Lamb of God, Anthrax, Testament, Napalm Death
Tuesday, July 31st, 2018
Toyota Pavilion @ Montage Mountain, Scranton, PA

Our Score: 4 out of 5 stars

Thrash legends Slayer made a stop at the scenic Toyota Pavilion high atop Montage Mountain in Scranton, PA on July 31st as part of their 2018 final world tour. Now in its second leg the tour lineup features newly added Napalm Death and returning favorites Testament, Anthrax and Lamb of God giving fans plenty of metal music for their money.

Opening up the night was the veteran UK thrash band Napalm Death, having just joined the tour replacing Behemoth the band certainly had some very large shoes to fill. Vocalist Mark “Barney” Greenway hit the stage shaking and convulsing like a mad man as the four piece band from Meriden, West Midlands, England tore through songs such as “Suffer the Children”, “Scum” and “Dead” before closing out their early set with a cover of the Dead Kennedys song “Nazi Punks Fuck Off”. When an opening act exudes the amount of energy and furry that Napalm Death does you know right away that you’re going to be in for a very intense evening. The Bay Area’s very own Testament would take the stage next helmed by legendary vocalist Chuck Billy who sounded great as he belted out songs like “Brotherhood of the Snake” and “D.N.R. (Do Not Resuscitate)” which had the ever growing Scranton crowd frothing at the mouth only before being hit between the eyes with the formidable “Into the Pit” and “Over the Wall” which closed out the bands set. Each member of the group put on solid performances with a tip of the hat going to guitarist Alex Skolnick and drummer Gene Hoglan.

Anthrax would take the stage next with their signature New York sound and attitude that put on the map back in the 1980’s bassist Frankie Bello jump, ran and writhed like a demon spit from hell as the band performed tracks like “Caught In A Mosh”, “Madhouse” and the anthemic “Anti Social” which had the PA crowd on their feet and singing at the top of their lungs when cued by front man Joey Belladonna which certainly heightened the evenings intensity. After a quick set change Lamb of God would take the stage next flanked by their signature black and white single star flag side scrims. From the first note all system were go as the band chugged and thumped through songs like “Walk With Me in Hell”, “512” and “Laid to Rest” before closing out with the track “Redneck” from the bands “Sacrament” album. The band wasted little time between each song and really let the music do all the talking for which the crowd seemed to enjoy. Drummer Art Cruz did an amicable job filling in for Chris Adler who announced in late July that he would be sitting out this leg of the tour due to unforeseen circumstances. Though Cruz performed well was in fact handpicked by Adler there was just something different about the band without the veteran member.

Finally the clock struck 9:20pm and it was Slayers turn to take the stage for the final time at Montage Mountain. The stage which was now hidden behind a giant black curtain started to come alive with fire and smoke as the band found their places and the opening of “Delusions of Saviour” blasted through the speakers giving away to the curtain dropping and the band launching into the break neck paced “Repentless”, Vocalist/bassist Tom Araya sounded and looked great sporting a much slimmer look than when I last had the chance to see the group perform. Both guitarists Kerry King and Gary Holt were on their game this evening showcasing their precision on amazing performances of “Mandatory Suicide”, “Black Magic” and “Seasons in the Abyss” before closing out the night with the always formidable “South of Heaven”, “Raining Blood” and “Angel of Death” which serves as a homage to fallen guitarist Jeff Hanneman.

If you have never seen Slayer live I strongly urge you to do so now! The band will remain in the States through August before taking some time off prior to a full overseas tour. The band has stated this will be their last US tour so your time to see them is limited. If that alone doesn’t get you out to one of the few remaining shows then consider the stellar line up they bring with them as just one or two of these groups would make for a great night of head banging. Instead you get a total of 5 bands in all! Each of the groups on this bill give it their all from beginning to end and if you don’t end the night with either ringing ears or a sore neck then you clearly did something wrong.

Napalm Death Set List:
1.) Multinational Corporations
2.) Instinct of Survival
3.) Smash a Single Digit
4.) Standardization
5.) Suffer the Children
6.) Breed to Breathe
7.) Scum
8.) You Suffer
9.) Dead
10.) How the Years Condemn
11.) Nazi Punks Fuck Off

Testament Set List:
1.) Brotherhood of the Snake
2.) Rise Up
3.) Dog Faced Gods
4.) The New Order
5.) Stronghold
6.) D.N.R. (Do Not Resuscitate)
7.) Into the Pit
8.) Over the Wall

Anthrax Set List:
1.) Cowboys from Hell
2.) Caught in a Mosh
3.) Got the Time
4.) Madhouse
5.) Be All, End All
6.) Evil Twin
7.) Antisocial
8.) Indians

Lamb of God Set List:
1.) Omerta
2.) Ruin
3.) Walk with Me in Hell
4.) 512
5.) Now You’ve Got Something to Die For
6.) Engage the Fear Machine
7.) Blacken the Cursed Sun
8.) Laid to Rest
9.) Redneck

Slayer Set List:
1.) Repentless
2.) Blood Red
3.) Disciple
4.) Mandatory Suicide
5.) Hate Worldwide
6.) War Ensemble
7.) Jihad
8.) When the Stillness Comes
9.) Postmortem
10.) Black Magic
11.) Payback
12.) Season in the Abyss
13.) Dittohead
14.) Dead Skin Mask
15.) Hell Awaits
16.) South of Heaven
17.) Raining Blood
18.) Chemical Warfare
19.) Angel of Death

Film Review: “Christopher Robin”

CHRISTOPHER ROBIN
Starring:  Ewan McGregor, Hayley Atwell and Jim Cummings
Directed by:  Marc Foster
Rated:  PG
Running time:  1 hr 44 mins
Walt Disney Pictures

Why do we have to grow up?

I’m 57 (58 next month) and as my childhood gets further and further away, I miss more and more the things of that time.  I think most of us do.  To forget out childhood, and our childhood friends, seems like an impossibility.  But not to Christopher Robin.

When we meet young Christopher (Orton O’Brien), he is being honored at a going away party by his best friends in the Hundred Acre Wood.  As stories are told and gifts exchanged, it is his stuffed bear, Winnie the Pooh (voiced by Cummings) that says what everyone is thinking:  “I wish this could go on forever.”

A film that melts your heart in its first five minutes, “Christopher Robin” follows the title character (McGregor) into young adulthood, where he goes off to school, falls in love, goes to war and then settles down to raise a family.  Now a working-class family man, Robin’s daily duties include cutting costs at the luggage manufacturing company he works for and ducking his Gin Rummy-crazed next door neighbor.  He has long ago put away his drawings from childhood, where he and his friends would have adventures.  His latest adventure – breaking his promise to his daughter and sending she and her mother off on holiday alone.  Another weekend working.  Oh, bother.

A perfect blend of live action and CGI, “Christopher Robin” brings back to life such cherished characters as Tigger (also voiced by Cummings), Eyore (Brad Garrett), Piglet (Nick Mohammed), Rabbit (Peter Capaldi) and Owl (Toby Jones).  Along with Pooh, they do their best to convince a dubious Christopher that you can’t lose the past if you don’t want to.  “Did you let me go,” Pooh asks softly.  Christopher can only ponder the question.

McGregor is perfectly cast as a young husband and father, trying to provide for his family and not realizing that, the more he tries, the further they are drifting apart.  Atwell is just as strong as Christopher’s wife, Evelyn, and young Bronte Carmichael is sadly sweet as their daughter, Madeline.  The special effects are flawless and, if you’re not too careful, you too might find yourself talking to stuffed bears and planning age-old adventures.

Film Review: “Don’t Worry, He Won’t Get Far On Foot”

DON’T WORRY, HE WON’T GET FAR ON FOOT

Starring: Joaquin Phoenix, Jonah Hill and Rooney Mara
Directed by: Gus Van Sant
Rated: R
Running Time: 1 hr 54 mins
Amazon Studios
There is little doubt that the late cartoonist John Callahan (1951-2010) was as politically incorrect as they come. However, to paraphrase Jim Morrison, he had enough of a good life, or at least enough of an interesting one to base a movie on. After several years in limbo, Callahan’s biopic “Don’t Worry, He Won’t Get Far on Foot” has finally hit the silver screen. Directed by Gus Van Sant (“Milk,” “Drugstore Cowboy”), this emotionally charged drama is one of the best films of 2018 thus far. This is due in large part to epic performances by three-time Oscar nominee Joaquin Phoenix (“The Master,” “Walk the Line,” and “Gladiator”) as the lead and Jonah Hill (“The Wolf of Wall Street,” “Moneyball”) in a supporting role.
Based upon Callahan’s memoir “Will the Real John Callahan Please Stand Up?”, “Don’t Worry” is not a step-by-step biopic flick as it subtly dances back and forth among time frames during his life. An extra curve ball is thrown into the mix when some of his more notable drawings interject themselves across the screen to punctuate what his critics labeled as off-color humor. What we do learn about Callahan is that he was abandoned at a Catholic orphanage soon after birth and grew up in an area of Oregon called The Dalles near Portland. An alcoholic starting at the age of 12, Callahan became a quadriplegic at age 21 when on one evening in 1972 the equally inebriated driver (played by Jack Black) of his Volkswagen crashed into a utility pole at 90 miles per hour.
After months of rehabilitation, Callahan is eventually released back into the wild, but he continues to drink, something that is not played as darkly as it could have been. A day eventually comes when he hits rock bottom and he joins an Alcoholics Anonymous group sponsored by the guru-like son of rich parents, Donne Green (Hill). Green speaks continually of being honest and of recognizing a higher power to Callahan as he slowly makes his way through a 12-step program. Through it all he develops a relationship with a pixie-like flight attendant (Rooney Mara) from Sweden whom he first meets shortly after his spinal surgery. It’s an unlikely relationship and one that seems out of place within the film. It impedes the overall pacing of the story as it also eliminates other aspects of the real Callahan’s life that could have been examined – his earning a degree at Portland State University, his troubled childhood, or the six-year bender he went on after his accident, for example.
Don’t worry, this film is not all gut-wrenching sadness and pain as there is joy to be found in watching Callahan discover his true gift in life, a gift that led him to becoming a successful newspaper cartoonist despite his physical limitations. Phoenix delivers a raw, emotional performance as dives into his character with abandon. It ranks as one of his best roles and deserves to be remembered when Oscar season comes around. The same can be said for Hill who shines in a career defining role as an AA sponsor with his own set of demons. It is a genuine pleasure to watch them both as “Don’t Worry” won’t leave you any time soon after you leave the theater.

Concert Review: Vans Warped Tour 2018, Darien Center, NY

Vans Warped Tour 2018
Wednesday, July 25th, 2018
Darien Lake Performing Arts Center, Darien Center, NY

Our Score: 3 our 5 stars

The long running Vans Warped Tour made its final appearance at the Darien Lake Performing Arts Center on July 25th providing long-time attendees just one last opportunity to enjoy a day of fun in the sun while listening to a wide range of music acts. Though the day kicked off under foreboding skies it certainly didn’t stop eager fans from rushing through the gates in an effort to get one of the festival six stages which were spread strategically throughout the sprawling outdoor venue.

One of the last if not only traveling festivals in the United States announced earlier this year that after twenty plus summers 2018 would be the final run of the Vans Warped tour. The festival which began in 1995 served as the summer highlight for many alternative music fans like myself and even though this year’s line-up on paper wasn’t as stellar as years past there still was a little something for every era of warped tour fan. Right away you could tell that the day was going to be unique as the diverse crowds ranging from hoards of middle/high schooler’s to entire families and all ages in between were present and ready to take in the music. Highlights of the day included and earlier afternoon set by longtime Warped tour performers Less Than Jake whose set was full of fun upbeat moments which included water cannons and toilet paper blowers. Guitarist Chris Demakes even took time to thank the Buffalo crowd for all their support of the band and the tour going back to the days when the event was held in Le Salle Park. Other notable performances included a ten song set from Buffalo’s favorite sons Every Time I Die. The group which took the stage flanked by family and friends blistered the crowd with a high intensity, aggressive set which came to a close with guitarist Jordan Buckley crowd surfing on a cabinet top while playing the final notes of the bands closing song. As the day started to wind down I took in sets by crowd favorites Simple Plan who played a brief greatest hits set which was a lot of fun and included a bevy of black and white beach balls which was only fitting given the occasion. Shortly after we checked out sets by the Massachusetts based Four Years Strong, metal-core legends Unearth and the face painted duo of Jamie Madrox and Monoxide collectively known as Twiztid. There set was a nice break from the crunching guitars and thunderous double bass kicks as those were replaced by thumping bass beats and tongue and cheek lyrics which were quite comical. Before calling it a day we checked out the always energetic and entertaining Nekrogoblikon. The group performed a couple of songs of their most recent release “Welcome to Bonkers” before breaking in to their back catalog which consisted of “No One Gets Out Alive” and “Powercore”. The groups green skinned mascot John Goblikon made several appearances both on stage and off as he helped the band and fans get the most out of the shred-tastic thirty minute set.

As the sun started to set on the final Buffalo stop of the Vans Warped tour it made me think back to the previously attended years and the fun that was had. Often sun burned, sweaty and always with ringing ears memories from seeing bands like NOFX, Bad Religion and Rancid in the tours early years to more recent tours with bands like Masked Intruder, Of Mice and Men and Teenage Bottle Rocket. The Vans Warped tour really was the place to be during the summer and this one was no different and, while the tour may come to a close for the final time on August 5th in West Palm Beach, FL myself and thousands of other attendees will always have the memories that the Vans Warped tour set the stage for. So long Warped tour and thanks for the memories.

2018 Line Up:
3OH!3, Simple Plan, Mayday Parade, Asking Alexandria, We The Kings, Silverstein, Frank Turner, Reel Big Fish, Motionless In White, Senses Fail, Less Than Jake, Crown the Empire, Four Year Strong, Tonight Alive, Issues, The Amity Affliction, Every Time I Die, Chelsea Grin, State Champs, Real Friends, Don Broco, Unearth, Ice Nine Kills, Knuckle Puck, This Wild Life, Twiztid, As It Is, Chase Atlantic,In Hearts Wake, Deez Nuts, Waterparks, Wage War, MyChildren MyBride, The Interrupters, Broadside, Movements, Trash Boat, Palaye Royale, Nekrogoblikon, Grayscale, Kublai Khan, Dayseeker
Story Untold, Sleep On It, Assuming We Survive, Capstan, The Makeout, Doll Skin, Sharptooth, Farewell Winters, LIGHTERBURNS, Of Night And Light, Kaiser Solzie,The Toy Box Brigade

Kansas City Theater Review: “Hairspray – the Musical”

“Hairspray – the Musical”

Starlight Theater – Kansas City, Missouri

July 27, 2018

 

I spent 13 years living in Baltimore.  As a movie theatre manager I was very fortunate to manage the theatre of choice of local filmmaker John Waters.  He was a frequent guest and, when I asked, would stop by the office for a few minutes after his film just to talk about what he had coming up.  Of course, I was glad to play the original film “Hairspray,” and am proud to be friends with some of the local talent used in the film.  Years later, Mr. Waters took the film to Broadway, where, 15 years ago, the musical version earned 13 Tony Award nominations, winning 8, including Best Musical.   This week, the fun and energy you can only find in Charm City is on display at the Starlight Theater as “Hairspray – the Musical” arrives.

Baltimore 1962.  Like many cities in America, civil rights are on the front burner.  We meet Tracy Turnblad (an outstanding Jessica Alcorn) as she greets the day, and the audience, with the bouncy “Good morning, Baltimore.”  Tracy is a fan of the Corny Collins afternoon dance program on television and secretly dreams to not only be a dancer on the show, but to end up in the arms of the show’s best male dancer, Link Larkin (Eric Geil).  Tracy lives at home with her parents.  Mother Edna (Brad Oscar) takes in washing and hasn’t been outside the apartment in years.  Her father, Wilbur (Bruce Roach), runs a joke shop called the Har-Har Hut.  Tracy has a friend named Penny, who encourages her to follow her dream.  And so she does.

First off, I must comment on the energy the entire cast brought to the show.  It’s always a plus when you can sense that the cast and crew WANT to be there.  The musical numbers were infectious.  If you knew the words (guilty) you quietly sang along.  If you didn’t, you were dancing in your seats.  As Tracy, Ms. Alcorn soars.  She is the heart and spirit of the show and she shines in a role that a lesser actress could easily dilute spirit-wise.  Supporting roles played by Katie Karel (Penny), Cathy Barnett (Velma Van Tussle) and Erin Riley (Amber) stand out here, as does Regina Levert whose Motormouth Maybelle steals the scenes she is in.

And I would be remiss if I didn’t note that Kansas City audiences are having the rare treat of seeing a true Broadway legend in Brad Oscar.  Ever since Harvey Fierstein first originated the character, Edna has been played with dignity.  Mr. Oscar continues that tradition here.

“Hairspray – the Musical” plays at Starlight through August 2nd.  For tickets to those shows click HERE.