Monthly Archives: April 2010

TUiW Guide to May 2010

The National

This May is shaping up to be a really great month of media. In addition to a stellar lineup of new music, May is also the start of the Summer Movie season and TV season finales. We’ve provided below a list of some of the best media this month, as well as links to find more.

MUSIC:

The Hold Stead - Heaven is Whenever

05-04
Broken Social Scene: Forgiveness Rock Record [Arts & Crafts]
The Fall: Your Future Our Clutter [Domino]
The Flaming Lips/Stardeath and White Dwarfs: The Dark Side of the Moon [Warner Bros.]
Flying Lotus: Cosmogramma [Warp]
The Hold Steady: Heaven Is Whenever [Vagrant]
Minus the Bear: Omni [Dangerbird]
The New Pornographers: Together [Matador]
Josh Ritter: So Runs the World Away [Pytheas Recordings]
Paul Weller: Wake Up the Nation [Yep Roc]
The Whitsundays: Saul [Friendly Fire]

05-11
CocoRosie: Grey Oceans [Sub Pop]
The Dead Weather: Sea of Cowards [Third Man/Warner Bros.]
Holy Fuck: Latin [Young Turks/XL]
Japandroids: No Singles [Polyvinyl]
The National: High Violet [4AD]
Sleigh Bells: Treats [NEET/Mom + Pop]
UNKLE: Where Did the Night Fall [Surrender All]
Woods: At Echo Lake [Woodsist]

05-18
Band of Horses: Infinite Arms [Brown Records/Fat Possum/Columbia]
The Black Keys: Brothers [Nonesuch]
LCD Soundsystem: This Is Happening [DFA/Virgin]
Jamie Lidell: Compass [Warp]
Janelle Monae: The ArchAndroid [Wondaland Arts Society/Bad Boy]
Nas and Damian Marley: Distant Relatives [Universal Republic]
Rhymefest: El Che [dNBe Entertainment]
The Rolling Stones: Exile on Main St. [Universal] [Deluxe Edition reissue]
Talib Kweli and Hi-Tek: Revolutions Per Minute [Blacksmith/Warner Bros.]

05-25

David Cross: Bigger and Blackerer [Sub Pop] [CD/DVD]
The Cure: Disintegration [Three-disc reissue] [Polydor/Universal]
Karen Elson: The Ghost Who Walks [Third Man/XL]
Tobacco: Maniac Meat [Anticon]

More Movie Releases Here

MOVIES

Iron Man 2

05-07
Iron Man 2

05-14
Robin Hood

05-21
Shrek Forever After
MacGruber

05-27
Sex and the City 2

05-28
Prince of Persia: The Sands of Time
George A. Romero’s Survival of the Dead
Micmacs

More Movie Release Dates Here

TV (Season Finales)

L O S T

FlashForward: Thursday, May 27 @ 8 pm/ET
Lost: Sunday, May 23 @ 9 pm/ET (two hour series finale)
Modern Family: Wednesday, May 19 @ 9 pm/ET
How I Met Your Mother: Monday, May 24 @ 8 pm/ET
24
: Monday, May 24 @ 8 pm/ET (two hour series finale)
The Cleveland Show
: Sunday, May 23 @ 8:30 pm/ET
Family Guy
: Sunday, May 23 @ 9pm/ET (one hour)
Fringe
: Thursday, May 20 @ 9 pm/ET
House: Monday, May 17 @ 8 pm/ET
The Simpsons: Sunday, May 23 @ 8 pm/ET
30 Rock
: Thursday, May 20 @ 9:30 pm/ET
Chuck: Monday, May 24 @ 8 pm/ET (two hours)
Community: Thursday, May 20 @ 8 pm/ET
The Office: Thursday, May 20 @ 9 pm/ET
Parenthood: Tuesday, May 25 @ 10 pm/ET
Parks and Recreation: Thursday, May 20 @ 8:30 pm/ET

More Finale Dates Here

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Modern Family – “Travels With Scout”

With no How I Met Your Mother or Lost on this week, I was really excited for a new Modern Family to fix my need for new episodes of a favorite show. Sweetening the deal? It was to feature a guest appearance by Fred Willard as Phil’s dad. Maybe it was high expectations, but I ended up being a little disappointed. “Travels With Scout” was a mixed bag of an episode, with some incredible moments, and some that were just undeveloped and fell below the bar already set so high by the show.

In the “A Story,” Phil’s dad Frank arrives in an RV at the Dunphy house with a dog, Scout, that he and Phil’s mom got from the pound, but cannot keep because she’s allergic. Scout is going to the Dunphys, which was previously unbeknown to the reluctant Claire. She worried that she would end up taking care of the dog, much like when she had to do Luke’s paper route for him, as seen in one of my favorite sight gags of the night. But Phil is just happy to have his dad around, mostly because he’s an older version of Phil. Everything is great, but then Claire discovers Frank crying alone in his RV. She thinks this means that Frank and Phil’s mom split up, a fact Phil is reluctant to accept. Meanwhile, Scout is getting himself settled in the Dunphy home, stealing underwear from the laundry, getting himself out of the crate, and asking to be let out. The best part: Luke has trouble with the latter two, getting trapped in the cage and running through screens. In the end, Frank reveals he’s actually just sad to let Scout go, so Phil decides to let him keep the dog. The only problem is that now Claire has grown attached to him, and the look on Julie Bowen’s face when she realized that Scout was leaving was hilarious and heartbreaking.

While all of this was going on, Dylan was freaking out because his band’s drummer’s parents were getting back together, and he’d have to move, leaving them in a lurch right before a show. Luckily, former music teacher Cameron was there for the rescue, and after fooling his bandmates with bad drumming, Cam unleashes his skills (“dude, you should label your sticks”) and joins the band for their gig. This, however, comes amidst protests from Mitchell, who doesn’t like the idea, but also because they have “Pepper’s apres-ski fondue party.” But Cameron rocks at the gig, and Mitchell’s mind changes. That is until Cam’s solo goes on way way too long. When the band’s drummer returns, Cam is forced out of the band, much to his sadness.

Meanwhile, Jay takes Manny to go see a horror movie that stars an old high school friend of Mitchell’s as a psycho killer. Jay thinks this is a brilliant idea…that is until Manny has the living daylights scared out of him. Manny freaks out when the broken doorbell won’t stop ringing (he thinks it’s possessed), and offers to protect the house with his fencing sword. Jay still doesn’t believe its that big of deal until Manny shares the bed with he and Gloria, and wakes them up with his night terrors. So Jay has his second brilliant idea: invite the actor over to house one night so Manny can see that he’s not a psycho killer and that his machete is just a prop. This sets up a hilarious chain of events, when after the doorbell doesn’t work, the actor comes to the window (where he’s horrifyingly lit from below), holds up his (fake) machete and says, “Are you Manny? I’m here for you!” Absolute perfection.

So if there were so many great moments in “Travels With Scout,” why didn’t it work as an episode? For one, the overall pacing seemed off. Episode seemed to drag at parts, and while it had these great bits, didn’t tie together well enough to function as a stellar episode. Like I said, there were some absolutely hilarious bits, and each individual story seemed well constructed, but there seemed to be a lack of overall coherence that dragged it down. Because of the great bits, I’m being a little more generous with my grade, but I’m hoping next week kicks it up a notch.

Michael’s Score: 65
TUiW Grade: B-

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New Interpol – “Lights”

Interpol has been quiet for the last three years since the only okay Our Love to Admire, but now, they’re back with a new track, (probably) off of a new, forthcoming record. The song is called “Lights,” and can be downloaded for the price of an email address at their website (with a 30 second intro video that sounds like the beginning of Lost). The song sounds like an Interpol song, with dark chords, but with more dominant drums, which suggests maybe a slightly different sound. Either way, worth a listen if you’re an Interpol fan.

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Steve Carrell to Possibly Leave the Office

Big news for fans of The Office: Michael Scott himself might not be around after next year. Steve Carrell, who’s contract is up after next season, was asked by BBC Radio what he would do when his contract was up. His response: “I don’t think so. I think that will probably be my last year.” I think it was really only a matter of time before we started hearing about this. First of all, let’s face it, The Office would be terrible without Michael Scott. Also, the stars of the show, especially Carrell, have all done movies and seemed set to head in that direction. Furthermore, show runners Greg Daniels and Mike Schur have begun work on Parks and Recreation, which at this point is the superior show. I’m still a pretty big fan of The Office, though it’s definitely declined in the last two seasons. After next year, they’ll have been on for seven seasons, which is a pretty great run. On the other hand for NBC, The Office is one of their biggest shows, so they’ll probably throw money at him. What do you think? Is it time to say goodbye to The Office?  (from OfficeTally)

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New Sleigh Bells: “Tell ‘Em”

We had a blast at the Sleigh Bells set at Coachella this year, and not two weeks later, we have a new track from the duo’s debut LP, Treats, which is due May 11. It’s the first track on the album (tracklist below, cover above), which will feature re-recordings of internet favorites “Crown on the Ground” and “A/B Machines.” You can grab “Tell ‘Em” here for the price of $0. [Ed. Note: They played this song at Coachella, and its as awesome as it sounds]

Treats:

01 Tell ‘Em
02 Kids
03 Riot Rhythm
04 Infinity Guitars
05 Run the Heart
06 Rachel
07 Rill Rill
08 Crown On the Ground
09 Straight A’s
10 A/B Machines
11 Treats

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Bill Murray: Ghostbusters 3 a “Myth”

Rumors of a third Ghostbusters movie have been rampant for a while now, and Bill Murray has been largely regarded as roadblock in the way of moving forward. The most recent episode: at a press Junket for Get Low, Murray told CinemaBlend that Ghostbusters III was a “myth.” He added:

It’s just really the movie studio. They love the franchise, they’d just like to re-create it again. All this talk is just talk. It drives me nuts, it’s just people talking…Until someone actually creates a great script it’s just hogwash, it doesn’t mean anything. It’s interesting that people are interested in it, they’d like to see it. It was a great thing, it really was fun. Maybe it should. And if it’s such a good idea, then someone will write the screenplay.

In a separate interview, Murray also said:

…it’s really the world of sequels and bringing these things back again, and then some wiseacre said, ‘Hey, we got a couple of new writers who are gonna write something.’ And I thought, ‘Oh, well, maybe there’ll be some writers’ and there was always this joke, sort of a half-true, half-joke thing like, ‘Well, I’ll do it if you kill me off in the first reel.’ That was my joke, you know? So supposedly someone was writing a script where I actually got killed in the first reel and became a ghost, which I thought, ‘Well, that’s kind of clever anyway.’ But then these guys that were supposedly the writers that were going to do it, they wrote a film that came out and people saw the film and went… ‘We’re not going to do it after all, are we?’ So it’s just a kind of a dreamy thing.

Sounds like Dr. Venkman was not to pleased with the script written by Office scribes Lee Eisenberg and Gene Stupnitsky, who used up their awesome points on the horrendous, Harold Ramis-directed Year One, the bad movie that Murray mentions. Right now, it seems like the prospect of more Ghostbusting sounds slim at best. For more, head to /Film.

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Conan Breaks Silence This Sunday

Though he’s on a live tour at the moment, Conan O’Brien will return to television briefly on Sunday for an interview with CBS’ 60 Minutes. Sunday is the first day that O’Brien will be legally allowed to appear on television, and while the piece will show highlights from his live show, it will largely focus on Conan’s departure from NBC in the wake of the Late Shift 2. While Conan is legally prohibited from disparaging NBC, 60 Minutes‘ Steve Kroft says Coco, “He flirts with the restrictions.” The biggest kicker in all of this? Because Conan is legally prohibited from appearing on TV before Sunday, CBS cannot feature him in any promos. Again says Kroft: “I think we’ll just show me talking to him and have to blank his face out.” Either way, this will probably be the first time ever that I voluntarily watch/TiVo 60 Minutes. Read the whole story here.

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Andrew Bird and MMJ On Shel Silverstein Compilation

Beloved late writer/poet/songwriter Shel Silverstein is getting the cover treatment June 8 with the release of Twistable, Turnable Man: A Musical Tribute to the Songs of Shel Silverstein, a covers records of songs by Silverstein the songwriter. Silverstein was as accomplished and lighthearted a songwriter as he was a poet, with his most notable songs being given to other performers, including Dr. Hook’s “The Cover of the Rolling Stone,” and Johnny Cash’s memorable “A Boy Named Sue.” The tribute record will feature takes on Silverstein songs by Andrew Bird, My Morning Jacket (who contribute two), Decemberists side project Black Prairie, Dr. Dog, Lucinda Williams, Kris Kristofferson, and Black Francis and Joey Santiago of the Pixies. The compilation was produced by Bobby Bare, Jr. and Bobby Bare, Sr., both of whom worked with Silverstein. Pitchfork is streaming two tracks from Andrew Bird and MMJ right now.

Twistable, Turnable Man Tracklist:

01: My Morning Jacket: “Lullabies, Legends and Lies”
02: Andrew Bird: “The Twistable, Turnable Man Returns”
03 John Prine: “This Guitar Is for Sale”
04 Dr. Dog: “The Unicorn”
05 Kris Kristofferson: “The Winner”
06 Sarah Jarosz With Black Prairie: “Queen of the Silver Dollar”
07 Bobby Bare, Jr. with Isabella Bare: “Daddy What If”
08 Black Francis with Joey Santiago: “The Cover of the Rolling Stone”
09 The Boxmasters: “Sylvia’s Mother”
10 Ray Price: “Me and Jimmie Rodgers”
11 Todd Snider: “A Boy Named Sue”
12 Lucinda Williams: “The Ballad of Lucy Jordan”
13 Bobby Bare: “The Living Legend”
14 Nanci Griffith: “The Giving Tree”
15 My Morning Jacket: “26 Second Song”

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MIA’s NSFW Born Free Music Video

In case you didn’t see it here’s the 9 minutes short film/music video for “Born Free,” the first single from M.I.A.’s new record. Be warned, its VERY violent and disturbing. Watch below :

M.I.A, Born Free from ROMAIN-GAVRAS on Vimeo.

I’d like to personally apologize to Michael for what happened to the redheads in that video. The album drops June 29.

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Movie Review – Kick-Ass

I’m not sure at what point in the superhero movie craze we’ve reached, but “Kick-Ass” at least indicates that its started to eat itself. Based on Mark Millar’s comic book (from the second phase of his career, known as “chasing sweet Hollywood money with weak comic books), “Kick-Ass” comes with an appropriately high concept premise – what if some random kid in the real world put a mask on and decided to be a superhero – and plenty of the old ultraviolence to keep the kids entertained (this is a gleefully unrestrained hard R). But a little scope or ambition might have been nice.

Aaron Johnson plays an average 17 year old kid (we know this because of the number of times he tells us he’s just an average 17 year old kid. Thanks voiceover!) who is invisible to girls, all too visible to bullies, and obsessed with comic books. One day he decides to put on a mask and fight crime, under the name Kick-Ass. He has no abilities to speak off, and ends up just taking a lot of beatings. But a mix of the Internet and circumstance turn him into a minor celebrity (like keyboard cat, but with way more merchandise) and also raise the attention of a local crimelord. He also spawns a series of other caped crusaders, including Big Daddy (played by my favorite go-to loony toon: Nicolas Cage) and Hit Girl (newbie Chloe Moritz), who are far more effective and violent.

The problems with “Kick-Ass” begin with its main character, a sniveling, whiny, kind of annoying teenager who is essentially the male equivalent of Kristen Stewart’s character in “Twilight.” He’s pretty uninteresting and the film doesn’t seem to understand that, so we waste 2/3 of the movie focused on his boring, boring life, the boring, boring girl he like, and his boring, boring friends. There’s also the realism issue. For a film that keeps telling us it wants to be about a superhero in the real world, “Kick-Ass” doesn’t take place in anything remotely resembling the real world. The bright, comic book pastel color palette and set designs evoke Sam Raimi’s Spider-Man movies, but also the clearly fictional comic book world they take place in. The movie never stops too long to think about the logic of its plot developments and it has no problem sacrificing realism in the name of a joke. It also gets the little things wrong, like the idea that everybody still uses MySpace in 2010.

Things get a little more interesting around the peripheries, especially with Big Daddy and Hit Girl. At times both of them, but especially Hit Girl, seem like they’re just around to court attention and controversy, but at least Hit Girl is more recognizably human than she was in the book. Its also interesting that Nicolas Cage basically brainwashes his daughter and devotes both of their lives to brutal (and unlawful) violence, even if the film doesn’t seem particularly interested in exploring that particular ambiguity. In many ways, they seem much closer to the film’s stated vision of somebody putting on a mask and fighting crime in the real world. But the film doesn’t take the road, nor does it really question how creepy and wacked-out they actually are.

So what are we left with? Yet another mediocre superhero movie with an above-average helping of blood, guts, and swearing. I’m a person who kept reading comic books long after it was acceptable for a person of my age to do so, and even I’m getting really bored with all of this. The problem here, I think, may be that the source material was weak to begin with, but an uninspired script and generic action direction (from Matthew Vaughn) don’t help matters much. If you’re 17 and a boy, then this might be a good movie for you to see. Otherwise, just wait for Tony Stark to come back.

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