#early fast and furious has it too but grittier

[brainjuicey]

oh my goddddd early days tom cruise films make me feel something entirely different its something the scientists havent discovered yet

[themusicenthusiast]

Saturday, November 4th, 2017 – Grungy, Gritty and in Top Form, Local H Sets the Bar for the Acts at the Festival at the Switchyard

The setting was a little different for Local H from that of their North Texas show back in the summer. Back during their little stint supporting Metallica, which included opening for the iconic group when they visited at AT&T Stadium in Arlington. The duo that hails from Zion, Illinois had been back to North Texas a couple of times since, thanks to their tour supporting The Toadies, which included this stop in Carrollton as part of the cities’ Festival at the Switchyard. The venue may have been significantly different, though there was probably a much stronger turnout from the band’s dedicated fan base this time around, thanks in part to the festival being a free event. Indeed, there were plenty of people sporting their Local H shirts, while many more were clearly eager to see what was about to unfold; the downtown square beginning to fill up as the headline acts prepared to kick the music portion of the festival into high gear. Local H were definitely the ones to do that. Blaring, gritty feedback was what set things in motion, Scott Lucas hitting some of the pedals of his pedalboard well before he ever picked the guitar up from atop his amp. The grungy tones it emitted were sheer rock that seemingly epitomized the ‘90s era of music, despite the fact that the song they were firing up was “The Last Picture Show in Zion” from 2015’s Hey, Killer. Nostalgic to an extent, that is the style that Lucas and drummer Ryan Harding excel at, and they were quick to make sure everyone there knew that. A heavy, sludgy sound punctuated much of the track that was awash with reverb, which served to make it all the more compelling and a terrific opener.

Lucas briefly took up the role of frontman during it, unraveling the microphone cord from the stand and then making his way to the front of the stage for a few moments. “Well there ain't no ghost in your ghost town! There ain't no ghost in the sky!” he shouted, seething, surveying the spectators as he delivered that refrain. It was as if he were wanting to convince everyone that that was fact before he returned to his post in front of the mic stand. They would wind up doing a 60-minute long set in all, though they had to keep a swift pace in order to work everything they had planned into it, Harding laid down some ferocious beats as he bridged them right into their next number. There would be more newer songs to come, though the bulk of their performance was comprised of their classics; plenty of fans being elated once they recognized “All-Right (Oh, Yeah)”. From a one-man mosh pit (yes, that’s possible), to plenty of others jumping around, Local H was definitely doing their job of getting everyone warmed up with their high-energy music and explosive live performance. And Lucas and Harding were still just breaking in the stage. The onslaught continued as the duo knocked the songs out as fast as possible. “It’s a little early for a rock show, right?!” remarked Lucas towards the end of “All the Kids Are Right”. The sun was just starting to set, providing what was surely some unusual scenery for the group, though it didn’t hinder them in the least, nor did it impede the onlookers’ sheer delight over what they were witnessing. Come the sixth song, they struck with one of their signature numbers. “I'm not mad, I'm just bored. And everything I do is only because there's nothing much else for me to do. And that includes you…” As soon as those die-hard Local H fans identified “Fritz's Corner” they began singing along, aiding Lucas throughout it. He appeared slightly taken aback by that, surely uncertain of what the reception would be due to being out of their element, like the early set time. He capitalized off of it though, encouraging everyone to sing as passionately as they could, silently egging everyone on, making sure the crowd was giving it their all. “How is everybody?!” he asked once that angst-filled number was done, killing time as he tuned his guitar by chatting with everyone as well as thanking Carrollton for hosting the festival. They then opted to pay tribute to Tom Petty, tackling "I Need To Know" from the Heartbreakers catalog. A fairly wild and dynamic song to begin with, it was revamped a bit to better fit the Local H style. That’s to say it had more of a grungy vibe to it, a subtle punk element even permeating their rendition; Harding continuing to be an unstoppable force behind the drum kit, the relentless pace he kept up providing a hearty backbone for everything this evening. “Rest in peace, Tom Petty,” Lucas said with haste, taking a quick glance up at the sky as he bridged them into their next song, some ominous, foreshadowing riffs ushering in one of the most incredible things they have produced over their lengthy career. Which is saying something. “The Misanthrope” is a masterpiece. However, this night, it did seem to be lacking some of vigor that makes it so fantastic. The screams didn’t always sound as furious as what is captured on the recording, or from that memorable show at Dallas’ Three Links in early 2014, that song leaving plenty of people (myself included) in awe. Nevertheless, it still got the adrenaline pumping even more as the pair of musicians continued to one-up themselves. Another highlight of their set was “California Songs”. The crowd again demonstrated just how boisterous they could be, chiming in on the choruses; and while some of the other acts noted that they needed to watch their language, Lucas wasn’t too concerned by such matters. Plenty of four letter words had been said whenever they were necessary to the music, though as that anthem about how overdone California is drew to a close, he left the final line up to the audience. “And fuck New York too!!” they collectively shouted, earning a smile from the singer. Lucas and Harding made that hour pass by quick. Too quick. With the end approaching, they made sure to work in, among other things, the remaining key tracks from As Good as Dead. That included “Bound for the Floor” as well as the cut that everyone knew had to be coming as they announced that they had one final song left. “COME ON!” Lucas roared after the first chorus of “High-Fiving MF”, the throng of people growing louder as they sang along with that electrifying number that capped the show of perfectly. They had done everything people had expected, yet at the same time, Local H still left everyone wanting more, wishing they had more time to fill with… anything. Old, new, no one would have cared much as to what, so long as it was chock-full of that fierce energy and determination that Lucas and Harding exuded, personifying rock ‘n’ roll. Overall, Local H delivered the best performance of the bands that played at the Festival at the Switchyard. The duo managed to pack more intensity and energy in what they were doing than any of the other acts, reminding everyone just how potent a two-piece band can be. That says a great deal about Lucas and this project that he has invested upwards of three decades in, still giving it his all, striving for nothing less than the best. Together he and Harding made that look effortless; their chemistry being exceptional, and they often appeared to be working off of one another’s energy and spirit, each making certain the other was unleashing their full potential. Primal and in charge, Local H has just gotten better with age, their latest material being even stronger in all aspects, the music, the lyrics, etc. Lucas’ voice even sounds better, now being grittier and more forceful, and he’s still capable of packing in that angst that defined so much of their earlier work. They tore it up at the Festival at the Switchyard, probably better than any band has over the past seven years of the event, and they were the band to beat here at the 8th annual festival. And no one even came close to touching that bar Local H had set, and I say that despite an absolute love of The Toadies. Their next shows are set for November 8th at Spanish Moon in Baton Rouge, LA and the 10th at Stubb's BBQ in Austin, TX, which will be their final show with The Toadies. The latter part of November along with parts of December will be busy for them as well; and they’ll end 2017 with a two-night stand at Subterranean in Chicago, IL on December 30th and 31st. For full info on those and their other upcoming dates (including a UK tour in February 2018), go HERE. Also, check out Hey, Killer or any of their past records in iTUNES or GOOGLE PLAY. Set List: 1) “The Last Picture Show in Zion” 2) “All-Right (Oh, Yeah)” 3) “"Cha!" Said the Kitty” 4) “All the Kids Are Right” 5) “Gig Bag Road” 6) “Fritz's Corner” 7) "I Need To Know" (Tom Petty And The Heartbreakers cover) 8) “The Misanthrope”. 9) “Eddie Vedder” 10) “California Songs” 11) “Hands on the Bible” 12) “Bound for the Floor” 13) “John The Baptist Blues”. 14) “High-Fiving MF”

[maczazind]

FILM DIARY 2017: April AKA"The Month with Dwayne Johnson & True Stories"

The summer blockbuster season has officially arrived as April showers make way for May flowers. But in that showery month came a handful of interesting films as well. April surprisingly found myself not only accidentally focusing on stories that were based on real life events but also features starring Dwayne Johnson. I hadn’t planned on the two stacking up but was surprised as the month came to a close how many the two categories had rang true. So before we make it into the tentpole films of the Summer, let’s focus on the last hurrah of the Spring as the following were my movie reactions for April.

As always, the following reflects MY OWN OPINION. If you’d like to see these entries in full as the year progresses, each installment is given the tag “Film Diary 2017” so feel free to follow along!

Each entry includes how every feature was primarily seen and an asterisk which denotes that viewing was the first time I’ve seen that movie in its entirety, despite possibly having seen pieces of the film previously or having a general knowledge of it. Numbering reflects the year’s overall total, not the monthly total.

April 1st: 43) Valkyrie* - DVD (Rental - Library); Originally released in the winter of 2008, I may have just missed an eventual screening of this in one of my high school history classes (where I saw a wave of films that went from the relevant to the random including Catch Me If You Can and Slumdog Millionaire). And while it doesn’t quite buck your expectations as much as the final act of Inglourious Basterds did with its climax, Tom Cruise still leads a fascinating story regardless about a major attempt within Germany itself to turn a military tactic on its head in an attempt to end WWII. Director Bryan Singer covers the material with a visually impressive turn here, in addition to supplying plenty of tense moments throughout. Regardless of how likely you know the ending, it’s the plan and events unfolding that capture your attention while granting a different perspective inside the country in a time of a chaos. It may not have stood out as Cruise’s biggest film in the last decade, but it’s certainly a pleasant surprise if the subject interests you.

April 2nd: 44) Soul Men* - TV (DVR - BET); One of Bernie Mac’s final films, this musically driven comedy was a fun time that I didn’t take too seriously. It was a fine cable watch in the middle of a weekend as the movie focuses on two washed up soul artists who take a cross country road trip to attend a tribute for their group leader who had spun off into a successful solo career. Massive amount of cliches aside, what helps add to the fun is the chemistry between Mac and Samuel L. Jackson. It seems like they’re enjoying themselves throughout and it gets infectious alongside a great soundtrack. Not a contender for a new favorite; yet I’ve seen plenty worse on television.

April 4th: 45) 5 to 7* - Streaming (Netflix); I tend to be a sucker for a few quieter, independent romantic dramedies since my younger days of renting random films from the video store down my street. And 5 to 7 fits that exact mold, blending an offbeat perspective it wears proudly on its sleeve with a cast that really elevates the material in play. It’s a very eccentric mix exploring the world of an open marriage, and yet Anton Yelchin’s charming Brian manages to serve his role well as the viewer’s perspective. It’s not perfect but still mesmerizing and emotional as the character driven romance is tackled in various interesting ways with differing ideals. And God, how I wish there was more of Olivia Thirlby’s Jane in this film. She manages to steal the spotlight in every scene she’s in; finding fantastic chemistry with Yelchin and truly making me crave more of a focus on their star-crossed, budding friendship. It’s certainly not a film for everyone; it’s one you’ll either accept as it lays out its central theme early on or you won’t. Though if you do, you may manage to embrace a handful of the alluring and enamoring traits it has to offer.

April 5th: 46) Rogue One: A Star Wars Story* - Blu-Ray; Despite being a sizeable Star Wars fan, I never saw Rogue One during its release due to family problems arising around that time. So while many kept their blinders on until the release, I attempted to maintain that bubble for an additional three months. Some things clearly got through thanks to social media response, such as the widely beloved Vader scene. Others seemed obvious given existing canon and dialogue. The bottom line is I didn’t love Rogue One as much as The Force Awakens. At the same time, this is new territory; I really wasn’t sure how I would react to the first non-Skywalker Saga film despite being versed in books that do just that. I’ve accepted that this was also somewhat of a testing of the waters to see if audiences would respond to one-off cinematic adventures in this galaxy for potentially larger tales. Regardless, Rogue One is still an interesting focus on the Rebel Alliance beyond the Skywalker clan while it presents a grittier atmosphere that is certainly impressive. The story leads to very expected ending, but not before delivering quite a few memorable characters and dynamics. It fleshes out what we know with little additions that not only intrigues (Vader’s presence and location in between the prequel & original trilogies for instance) but solves some details from A New Hope as well. The biggest praise I can give is that director Gareth Edwards delivers perhaps the most visually stunning Star Wars film, between big beautiful shots, scenes that at times evoke the exactlook of the original classics, and a CGI Tarkin that to be quite honest I did not mind as much as others did. It’s a good, strong film that while it may not reach certain heights personally, may grow on me even more among repeat viewings.

April 8th: 47) Kubo and The Two Strings* - Streaming (Netflix); Laika has managed to rise impressively over the past nine years as its four feature films have presented intriguing stories that certainly gain popular word of mouth. Coraline impressed in a creepy supernatural tale with heart, while similarly Paranorman took a genre adventure tale and flipped it on its head with a very heartbreaking climax. Likewise, Kubo takes elements Laika has presented before and utilizes it in a new way. An adventure with fantastical elements here, but blending in dealings of grief, some great comedy, a feudal Japan backdrop and the legends that come with it. And such as Laika’s peaks, that emotional thread works wonders throughout the film. Perhaps not as far reaching to all demographics as the aforementioned movies, Kubo still showcases exceptional visual imagery and isn’t afraid to tackle some more complex pieces while fully embracing the more magical sides of the story it’s trying to deliver. If you can also accept those more farfetched archetypes as honorable to the landscape it’s tackling, then this may be up your alley.

48) Schindler’s List* - Streaming (Netflix); An award winner with an important legacy, I’d never seen this movie before for a small number of reasons. Among them, the 3 hour & 15 minute runtime always seemed overwhelming and the subject material in this format is something you have to be personally prepared for. Man what a powerful film. Unflinchingly brutal yet accurate to life, heartbreaking, and an extremely notable story to discover in the midst of absolute horror. Liam Neeson, Ben Kingsley and Ralph Fiennes give exceptional performances; to see Neeson’s Schindler break down in the “I could’ve saved more” scene evoked my own tears. And despite the length of the film, it never feels too long; between the shocking imagery and the tension that develops, your attention is demanded through it all. The genre of WWII films have presented no shortage of stories to tell, and it’s clear to see why this one has stood strong for the last 25 years.

April 14th: 49) The Fate of The Furious* - Theater; A fan of the franchise since my preteen years, it’s no secret The Fast and The Furious has gone through a number of transitions in its run. The series first changed four films in, shifting from a focus on racing to include more over the top action while also centering on the characters & the “family” that are now a signature part of the continuing story. In the wake of the loss of Paul Walker and the departure of his character Brian, the franchise finds itself at another crossroads. For myself, the core dynamic that gave the series an interesting focus was the yin & yang that were Brian & Dom; both intelligent in cars but differing with backgrounds in law enforcement and living on the edge. It’s why the second and third films didn’t quite work as well as the original, but excited an audience upon reuniting for a fourth; serving as a solid foundation for more fun adventures to build off of. Now with Brian gone, my main concern was wondering if his absence ultimately affected that core. In Fate, it’s clear there’s no replacing him. But thanks to Mr. Nobody and his new protege, played by Scott Eastwood, there is a feeling of balance once more as our family gains some structure while venturing out into an entry that not only entertains but captivates on multiple levels. Yes, there is still some very farfetched action; yet the one-liners & characters make it enjoyable despite plausibility. The story behind Dom’s betrayal to those closest to him counterbalances that, presenting some surprising connections and shocking twists that rewards fans who have stuck with the series so far. Jason Statham is a scene stealer, especially in the third act; Charlize Theron delivers an intimidating villain through her actions despite the fact she’s less hands on than previous antagonists. Without giving any spoilers away, I’ll say that what transpires blends together impressively to not only honor at least the three films prior but combats hesitance of shifting gears with a thrilling blockbuster that easily put it in the top tier of Fast and Furious installments.

April 15th: 50) Quiz Show* - Streaming (Netflix); My third based-on-a-true story film this month took me out of WWII and into the 1950s with another Best Picture nominee from the mid-90s. Here director Robert Redford tackles the cheating scandal from the early days of television, a controversy I had no clue even existed. What is presented is a solid film that takes many aspects and decides to run with them for an intriguing package, tackling a moral center, event entertainment vs. transparency, and the growing notion as to whether or not the same thing could be happening today in an era where game shows have only expanded. Ralph Fiennes dazzles as the lead torn between right and wrong, while John Turturro does an exceptional job playing an obsessed former champion that serves as a foil you can’t quite root for despite being in a justified camp. Though it doesn’t make it into the top tier of biopics for me, it’s an intriguing focus if you’re an entertainment lover.

April 22nd: 51) The Finest Hours* - Streaming (Netflix); As the title of this feature suggests, I found it to be just fine but not great. This drama from last year recounts a risky Coast Guard rescue in the early 50s out of Chatham, Massachusetts in the middle of a terrible winter storm. And while the story is interesting to learn and the actual rescue itself is harrowing, the film has a handful of problems. The first act, about 40 minutes long, throws so many characters at you and they are primarily pessimistic towards our protagonists that it actually gets a bit annoying. And a good handful of the pessimism on one side comes from an elephant in the room that is vaguely described through expositional dialogue that just feels out of place. An opening five minute scene depicting the event or even the fallout could’ve helped solve at least some of these scenes that simply come off sluggish. Additionally, characters and performances come up short because we jump around to SO many of them. Chris Pine and Casey Affleck lead their respective storylines well; Holliday Grainger is an absolute scene stealer and makes the central relationship believable. Ben Foster finds his groove later on, but disappointed me in the first half because of how good of a role I know he can deliver (if you haven’t seen it, he’s EXCEPTIONAL in The Program). The more interesting aspects of the film are Affleck’s story as we see how a ragtag crew manages to stay afloat in half of a sinking tanker as they await for rescue to hopefully come. Once rescue ventures out, the movie gains some real gravity; it’s just the very hesitant start and the crowded screen time that fails to get the motor going off the bat, rippling through the movie.

April 25th: 52) Moana* - TV (Rental - On Demand); I was worried how I would like this one given the hype built up from social media and award nominations. But as it turns out, it lives up that hype. Moana does an impressive thing by focusing on three key relationships that drive the emotional undercurrent: the title character & herself (torn between family and passion); the title character & her grandmother (doubting your passion, having someone support you and losing a loved one); and the title character and Maui (a comedic chemistry that also showcases independent strength, resilience and determination). All of these blend to deliver a powerful heart against a solid adventure tale that takes advantage of legend and fantasy, much in the way that Kubo had with its atmosphere. The villains are a bit weak, serving mostly as simple hurdles instead of the memorable antagonists from the Renaissance era. But there’s just something Moana does so well among establishing lore and relatable bonds in the first act that elevates the rest of the film. It’s even clear to see why “How Far I’ll Go” is the breakout song, as it perfectly captures and reflects everything being presented in the first half hour. Moana is a movie that wears its heart on its sleeve and is all the better for it, while the comedy and odyssey that follow cement it among the recent string of animated Disney films crafting their own legacies.

April 26th: 53) Central Intelligence* - DVD (Rental - Library); My second movie starring Dwayne Johnson in as many days, let’s say I didn’t love this one as much. It’s enjoyable, sure, but a little too goofy with a handful of problems. Kevin Hart and Johnson play off each other fantastically and are a lot of fun as a duo, but the character dynamics threw me a bit too much. Here, Hart is more or less the witty, taken aback foundation while Johnson is the wackier one as a repressed former high school loser who can’t quite let go of his past. And it’s there that the absurdity kind of grows more and more even if it tries to stay grounded in some respects. It requires plenty of disbelief and my expectations ultimately just were not there. Furthermore, the central story presents evidence to potentially distrust Johnson’s character well until the third act, and he’s such a wild card throughout that I actually bought the notion. The surprise cameos add an additional treat, but I’m also kinda happy I simply rented this one instead of outright buying it.

April 29th: 54) The Lincoln Lawyer* - Blu-Ray; My final film of the month is a legal thriller adaptation that squeaked in just before the “McConaissance” took shape. Matthew McConaughey leads a surprisingly star studded feature that spends the first hour setting up a premise, only to take an incredibly sharp turn halfway through and send the film in an entirely different direction. Though this twist allows for a complex spinning of plates that impressively all ties together in the end, it was a bit too jarring for me to roll with and I still felt a bit off center as the story continued to deliver turn after turn. Regardless, McConaughey and Ryan Phillippe give great performances; Marisa Tomei is just fine but has great chemistry with McConaughey; Michael Pena shines in the very small screen time he’s given; Bryan Cranston is under used with just a few scenes in a rather minor role. Ultimately it doesn’t hit as hard as past entries in its genre despite the impressive talent roster it builds and a break from cliche that should be refreshing. Then again, perhaps it was just my unprepared mindset to the narrative shift that left me with a sour note.

And that concludes part three of my year in movies! What blockbusters will I have seen after Memorial Day? See you in a month to find out!

What movies did you see in April 2017? Are there any movies you’d highly recommend that I should add to my watchlist? Feel free to drop me an ask or a reply!