CD review: Mike McClure “Fifty Billion”
Country
Mike McClure “Fifty Billion” (598 Recordings)
Prolific red dirt pioneer Mike McClure tinkers with numerous musical styles and moods on his latest solo album, “Fifty Billion.”
The sinewy 10-track effort marks the Ada musician’s first release on his new 598 Recordings, which he founded with business partner C.P. Sparkman. Along with starting the record label, working with fellow Oklahoma musicians The Damn Quails and Tom Skinner on their new albums and reuniting with his seminal red dirt band the Great Divide, McClure found time to write or co-write all the songs on “Fifty Billion.”
The evocative Tex-Mex yarn “Outlaw’s Prayer” offers further proof that the multitalented McClure’s strongest skill is still songsmithing. The galloping epic provides an intriguing contrast to the wistful country road ode “Horseshoe,” which in turn diverges dramatically from the hard-edged country-blues rocker “Black Diamond.” The Tecumseh native then goes gospel on “Hell and Highwater,” complete with big-voiced backup singers, bouncy bass and hopeful horns.
With the folksy “Old Crow,” McClure shows he’s not too proud to pick up a few tricks from one of the group’s he’s mentored, namely The Damn Quails.
While not as showy musically, “Other Side of Midnight” effectively explores the heartache of lost dreams, while “Distractions” woozily taps into the zeitgeist of our overly busy times.
McClure also happens to be a formidable live performer, and he will join the Red Dirt Rangers, Jason Boland, Stoney LaRue and several other red dirt musicians at 5 p.m. Sunday at the Tom Skinner Family Fundraiser at Fassler Hall in Tulsa. The event will raise funds to help Skinner with recent medical costs and other expenses. For more information, go to www.fasslerhall.com.
— BAM
DVD review: “Pirates of the Caribbean: On Stranger Tides” Blu-ray + DVD
From Friday’s Weekend Look section of The Oklahoman.
“Pirates of the Caribbean: On Stranger Tides” Blu-ray + DVD
Johnny Depp’s oddly charming Capt. Jack Sparrow takes his rightful place at the helm of “Pirates of the Caribbean: On Stranger Tides,” but more bloated storytelling threatens to sink the latest installment in the blockbuster franchise.
The fourth film tosses overboard Orlando Bloom’s Will Turner, Keira Knightley’s Elizabeth Swann and several related periphery characters, but unfortunately, “On Stranger Tides” doesn’t get the streamlining previous overblown sequels “Dead Man’s Chest” and “At World’s End” desperately needed.
Director Gore Verbinski bowed out of the fourth movie in the seafaring saga, but not before new helmer Rob Marshall (“Chicago”) plundered his “Pirates” penchant for too many characters, too much action and too many quests within the larger hunt for the Fountain of Youth.
“On Stranger Tides” comes in with Capt. Jack making one of his improbably clever escapes, which this time involves hijacking a vicious London court so he can free his old first mate Gibbs (Kevin McNally).
But Jack is quickly scooped up on behalf of King George II (the excellent Richard Griffiths), who wants to take the wily swashbuckler’s map of the Fountain of Youth so that pirate-turned-privateer Capt. Barbossa (Geoffrey Rush) can claim Ponce de Leon’s legendary prize for the English.
The Spanish have already taken up the search, which gets a particularly bloodthirsty competitor when the famed pirate Blackbeard (Ian McShane) hears a zombie prophecy that gives him just two weeks to live.
Jack is tricked into joining the fearsome buccaneer’s crew by crafty former flame Angelica (Penelope Cruz), who happens to be Blackbeard’s long-lost daughter. Along with actually finding the fountain, the pirates must track down the components for the special life-giving ritual: Ponce de Leon’s special silver goblets and, even worse, a tear from a mermaid, who in this tale are ferocious flesh-eating sirens rather than sweet-tempered half-fish ladies.
With Depp’s always-entertaining Capt. Jack officially becoming the star pirate, “On Stranger Tides” sets the franchise back on course but is too waterlogged to match the giddy thrills of the first film, 2003’s “Curse of the Black Pearl.”
Blu-ray features: Lego animated shorts, blooper reel and Disney Second Screen, which allows viewers to see behind-the-scenes photos, illustrations and videos on their iPad or computer while watching the film. Although Second Screen can be more cumbersome than, say, Warner Bros. Maximum Movie Mode, which in my experience offers much more interesting bonus material in a sort of picture-in-picture format, Disney’s approach is perfect if you have one person who just wants to watch the film and another who wants to get the behind-the-scenes look.
— BAM
CD review: “The Muppets Original Soundtrack”
A version of this review appears in Friday’s Weekend Look section of The Oklahoman.
Soundtrack
Various artists “The Muppets Original Soundtrack” (Walt Disney Records)
The Muppets have returned to put on another show, so “it’s time to play the music” again.
As hoped, the soundtrack to the movie “The Muppets” offers a “sensational, inspirational, celebrational, Muppetational” mix of spirited new material and respectfully refurbished classics that will delight both longtime devotees and new fans of the late Jim Henson’s lovable felt creations. The soundtrack alternates snippets of movie dialogue with songs from the film.
Bret McKenzie, half of the musical-comedy duo Flight of the Conchords, served as music supervisor on the film and wrote or co-wrote several new songs, including the jolly theme “Life’s a Happy Song” and its reprise. With the two tracks, the movie’s stars Jason Segel, Amy Adams and Chris Cooper, along with indie rock star Feist, actor/vaudevillian Mickey Rooney and a horde of Muppets belt through a cheeky first-rate revival of an old-school MGM musical.
McKenzie’s off-kilter sense of humor proves an ideal fit for the Muppets, whether he allows Adams and Miss Piggy to jointly declare their independence with the disco-esque duet “Me Party” or elevates piano balladry to new heights of silliness with the existential ode “Man or Muppet,” featuring Segel and new Muppet character Walter. For Cooper’s evil oil baron, McKenzie and Ali Dee Theodore penned “Let’s Talk about Me,” an over-the-top rap with operatic flourishes.
Singer/songwriter/whistler Andrew Bird, formerly of the Squirrel Nut Zippers, wrote and performed the bouncy instrumental “The Whistling Caruso” for Walter. Disney songwriters Jeannie Lurie, Aris Archontis, Chen Neeman bring earnest emotion to the bittersweet ballad “Pictures in My Head.”
Kermit the Frog’s simple Oscar-nominated ballad-and-voice anthem “Rainbow Connection” becomes a joyous group number, while the first new recording of “The Muppet Show Theme” features an appearance by freak-folk favorite Joanna Newsom.
Of course, it wouldn’t be a Muppet show without a few ridiculous renditions of popular songs. Camillia and The Chickens’ contribute a clucking good version of Cee Lo Green’s familiar smash “Forget You,” while Rowlf, Beaker, Link Hogthrob and Sam the Eagle hilariously harmonize on a barbershop quartet rendition of Nirvana’s “Smells Like Teen Spirit.”
Even the inclusion of Starship’s vastly overused ‘80s hit “We Built This City” is more than offset by another romp through the infectious Muppet classic “Mah Na Mah Na.”
— BAM
CD review: “The Muppets Original Soundtrack”
Soundtrack
Various artists “The Muppets Original Soundtrack” (Walt Disney Records)
The Muppets have returned to put on another show, so “it’s time to play the music” again.
As hoped, the soundtrack to the movie “The Muppets” offers a “sensational, inspirational, celebrational, Muppetational” mix of spirited new material and respectfully refurbished classics. that will delight both longtime devotees and new fans of the late Jim Henson’s lovable felt creations. The soundtrack alternates snippets of movie dialogue with songs from the film.
Bret McKenzie, half of the musical-comedy duo Flight of the Conchords, served as music supervisor on the film and wrote or co-wrote several new songs, including the jolly theme “Life’s a Happy Song” and its reprise. With the two tracks, the movie’s stars Jason Segel, Amy Adams and Chris Cooper, along with indie rock star Feist, actor/vaudevillian Mickey Rooney and a horde of Muppets belt through a cheeky first-rate revival of an old-school MGM musical.
McKenzie’s off-kilter sense of humor proves an ideal fit for the Muppets, whether he allows Amy Adams and Miss Piggy to jointly declare their independence with the disco-esque duet “Me Party” or elevates piano balladry to new heights of silliness with the existential ode “Man or Muppet.” featuring Segel and new Muppet character Walter. For Chris Cooper’s evil oil baron, McKenzie and Ali Dee Theodore penned “Let’s Talk about Me,” an over-the-top rap with operatic flourishes.
Singer/songwriter/whistler Andrew Bird, formerly of the Squirrel Nut Zippers, wrote and performed the bouncy instrumental “The Whistling Caruso.” for Walter. Disney songwriters Jeannie Lurie, Aris Archontis, Chen Neeman bring earnest emotion to the bittersweet ballad “Pictures in My Head.”
Kermit the Frog’s simple Oscar-nominated ballad-and-voice anthem “Rainbow Connection” becomes a joyous group number, while the first new recording of “The Muppet Show Theme” features an appearance by freak-folk favorite Joanna Newsom.
Of course, it wouldn’t be a Muppet show without a few ridiculous renditions of popular songs. Camillia and The Chickens’ contribute a clucking good version of Cee Lo Green’s familiar smash “Forget You,” while Rowlf, Beaker, Link Hogthrob and Sam the Eagle hilariously harmonize on a barbershop quartet rendition of Nirvana’s “Smells Like Teen Spirit.”
Even the inclusion of Starship’s vastly overused ‘80s hit “We Built This City” is more than offset by another romp through the infectious Muppet classic “Mah Na Mah Na.”
— Brandy McDonnell
DVD review: “DreamWorks Dragons: Gift of the Night Fury” Blu-ray + DVD
From Friday’s Weekend Look section of The Oklahoman.
“DreamWorks Dragons: Gift of the Night Fury” Blu-ray + DVD
DreamWorks Animation continues its tradition of revisiting its top franchises at various holidays, returning to the Viking hamlet of Berk for a Christmasy celebration with “Gift of the Night Fury” and delving deeper into the “Book of Dragons” with its new short film double pack.
The studio’s 2010 Oscar-nominated animated feature “How to Train Your Dragon” still flies high on my list of favorite movies of the past year, and the 22-minute seasonal tale “Gift of the Night Fury” gives another chance to experience the charming characters, engaging storytelling and exhilarating flying scenes of the film adaptation of Cressida Cowell’s book series.
As the title indicates, “Gift of the Night Fury” owes no small thematic debt to O. Henry’s classic tale “The Gift of the Magi,” as resourceful teen Hiccup (voice of Jay Baruchel) and the other Viking denizens of Berk prepare to celebrate their first Snoggletog, the community’s winter holiday, since making peace with the local dragon population.
But just as the Christmas-like merriment reaches its apex, all the dragons inexplicably fly away, except for Hiccup’s sleek buddy Toothless, whose damaged tail prevents him from soaring without his human pal’s help. The kind of high-quality short that alleviates the long wait for the 2014 full-length sequel, the new adventure packs plenty of holiday warm fuzzies, good humor and animated cuteness into its short runtime.
“Book of Dragons” is less a fully formed story than a light-hearted opportunity to expand on one of the key scenes of “How to Train Your Dragon,” in which Hiccup skims through his people’s encyclopedic record of the various types of the giant reptiles. The different varieties of dragons add so much visual and narrative interest, and the 18-minute short explores the seven classes of the fearsome creatures with intriguing detail and silly Looney Tunes-esque humor.
The Blu-ray offers an interactive version of the Book of Dragons, along with an animators’ commentary. The DVD-ROM comes with guidelines for creating several craft projects such as a replica Book of Dragons, Snoggletog party favors and paper dragons.
Other bonus features include “Gobber’s Training Secrets” vignettes, deleted scenes and a preview of the DreamWorks Dragons online video game. Each double pack comes with a code that grants access to the game.
— BAM
Movie review: “The Muppets”
Listed on wimgo Movies under Children
From Wednesday’s Life section of The Oklahoman. 3 1/2 of 4 stars – go see it!
Movie review: “The Muppets”
It’s time for a new generation to meet the late Jim Henson’s lovably hilarious felt puppets, since they are starring in the best family movie of the year.
The two old grumps in the balcony would probably complain that watching “The Muppets” is a painful experience.
Pay no mind to Statler and Waldorf, even though the big-screen return for the late Jim Henson’s lovable felt creations did make me laugh hard enough and smile wide enough to my cheeks ache.
Both newcomers to the franchise and fans who adored “The Muppet Show” or the best of the previous film outings will be thoroughly charmed by the musical puppets’ latest onscreen adventure.
It may seem a bit silly to deem “The Muppets” one of the most entertaining and vital films of the year, but the movie represents so much more than just another Hollywood reboot of a venerable franchise. Kermit the Frog, Miss Piggy and their zany pals have always used sophisticated yet innocent humor to entertain, and in these cynical, less-than-civilized times, such wit is more than refreshing. It’s practically revolutionary.
If you’re not a fan of “How I Met Your Mother,” “Forgetting Sarah Marshall” or any of his other projects, still be a fan of Jason Segel, who spearheaded this cinematic revival for the franchise, which just hasn’t been the same since Henson’s sudden death of pneumonia complications back in 1990. The Muppets haven’t been seen on the silver screen since 1999’s largely ignored “Muppets from Space,” and with the exception of a few well-received YouTube performances, Henson’s creations have mostly remained dormant since becoming part of the Disney empire in 2004.
Until now. Actor Jason Segel, and his collaborators, including director James Bobin, music supervisor Bret McKenzie, alumni of the acclaimed TV show “Flight of the Conchords,” and co-writer Nicholas Stoller, who helmed “Sarah Marshall,” hold nothing back, pouring all their affection and enthusiasm for “The Muppets” into the new movie.
Along with co-writing the script and executive producing the film, Segel plays Gary, an affable but immature denizen of Smalltown, USA, whose younger brother Walter happens to be a Muppet and a huge fan of TV’s “The Muppet Show.” (No, the filmmakers don’t explain how a man has a Muppet for a brother, but that’s par for the course. The Muppets have never elucidated why they mingle freely with humans, and I say we leave it that. After all, I didn’t want to learn how the Force works, either, but thanks to George Lucas’ revisionist tendencies, I can’t unlearn what I have learned, no matter how lame.)
Gary and his girlfriend Mary (three-time Oscar nominee Amy Adams), the town’s popular shop teacher, are planning an exciting 10th anniversary trip to Los Angeles. She is a bit crestfallen when Gary decides to invite Walter along, but still hopes the getaway will include a long-awaited marriage proposal.
Naturally, the first sight Walter wants to see is Muppet Studios, but when the trio gets there, they find that the Muppets have broken up and the theater is crumbling. and all but abandoned. Worse, Walter overhears villainous oil baron Tex Richman (Oscar winner Chris Cooper) plotting to seize the studio, raze it and drill for the recently discovered oil under it. Saving the Muppets old stomping grounds will take $10 million. and someone who cares enough to make it happen. Fortunately, Gary and Walter are just the man and Muppet to mount such a quest.
Along with the reluctant but still game Mary, the brothers Gary and Walter track down Muppet ringleader Kermit the Frog, who has forlornly shut himself away in a Bel-Air mansion. Kermit knows that the only way the Muppets can raise $10 million is to put on a show. which means getting the band back together, so to speak.
It won’t be easy because the Muppets have gone their separate ways: Fozzie now performs with a cut-rate and cutthroat Reno tribute band called the Moopets, Animal is seeking treatment in an anger-management clinic for the stars, Gonzo has become a well-off plumbing magnate, and Miss Piggy is the successful plus-size fashion editor at Vogue Paris.
Plus, Kermit, Walter, Gary and Mary face the challenge of getting their fundraising show televised, but when a high-powered executive (Rashida Jones) desperately needs to fill a timeslot, she is willing to give the Muppets a chance, even though she feels the world has become too jaded to care about them anymore.
Thankfully, the Muppets are still performed by actual puppeteers and haven’t been replaced by computer-generated effects.
The new movie not only nails The Muppets’ sense of humor, it also captures their effervescent musical spirit, especially on the irresistibly catchy theme “Life’s a Happy Song.” Even the inclusion of Starship’s irritatingly ubiquitous ‘80s hit “We Built This City” can’t diminish the nostalgic thrill of revisiting old favorites “Rainbow Connection” and “Mah Na Mah Na,” the emotional weight of Kermit’s regret-tinged ballad “Pictures in My Head” and the sheer hilarity of the new Muppet Barbershop Quartet rendition of Nirvana’s “Smells Like Teen Spirit,” featuring Beaker’s familiar “mee meeps.” The existential ode “Man or Muppet” includes the best of the film’s many star cameos. which I wouldn’t dream of spoiling.
Although the movie’s villain isn’t developed enough and the horde of fuzzy characters becomes a bit overwhelming, “The Muppets” doesn’t just coast on sentimentality or familiarity. It’s time for a new generation to meet the Muppets, since they are starring in the best family movie of the year.
Even better, “The Muppets” come with a fun “Toy Story” short film called “Small Fry.”
— BAM
Movie review: “The Twilight Saga: Breaking Dawn — Part 1″
From Friday’s Weekend Look section of The Oklahoman. 2 1/2 of 4 stars.
Movie review: ‘The Twilight Saga: Breaking Dawn — Part 1’
Director Bill Condon gives “Twi-hard” fans the extravagant wedding and romantic honeymoon they’ve been longing to see but fails to deliver true terror or high-stakes drama in the birthing room or on the battlefield with the penultimate film in the blockbuster franchise.
Director Bill Condon gives “Twi-hard” fans the extravagant wedding and romantic honeymoon they’ve been longing to see with “The Twilight Saga: Breaking Dawn — Part 1.”
Unfortunately, the Oscar winner fails to deliver true terror or high-stakes drama in the birthing room or on the battlefield in the first of his two-movie finale in the blockbuster film franchise based on Stephenie Meyer’s best-selling paranormal romance novels.
Summit Entertainment takes a page from the Harry Potter movies with “Breaking Dawn,” Meyer’s 750-page fourth and final book in the saga, which Condon and screenwriter Melissa Rosenberg divided into two movies that were filmed at the same time. Although it would be easy to dismiss the split decision as a mere cash grab, — the previous three “Twilight” films made $1.8 billion, after all — Meyer’s book provides ample action for two movies, plus a natural breaking point between the two parts.
Still, a full year seems a long time to wait for “Breaking Dawn: Part 2,” which isn’t due in theaters until Nov. 16, 2012. If you’re going to borrow a chapter from Potter, why not aim for a summer release for the final installment?
The first part opens with the big moment the saga’s fervent fans have been eagerly awaiting since the book came out in 2008: Human heroine Bella Swan (Kristen Stewart) marries her chivalrous vampire fiancé Edward Cullen (Robert Pattinson) in a lavish ceremony that gives face time to all the series’ periphery characters, from Bella’s high school frenemy Jessica (Oscar nominee Anna Kendrick) and her dad and mom (Billy Burke and Sarah Clarke) to the various members of the Cullen clan and the fellow human blood-eschewing vampires in the Denali coven.
Calling the wedding a “moment” might be an understatement, since Condon spends a solid half-hour on the nuptials. But considering the anticipation among “Twi-hards” and the furor over April’s royal wedding, it’s hard to fault the filmmakers for milking it.
Hot-tempered werewolf Jacob Black (Taylor Lautner), Bella’s best friend and spurned suitor, shows up at the reception to give his best wishes to the happy couple. But he quickly retracts his blessing and nearly starts a vampire-lycanthrope throwdown when he learns that Bella and Edward are going to attempt to have a typical honeymoon before the bride’s transformation into a vampire. Considering Edward’s predatory instincts and superhuman strength, Jacob fears a human Bella might not make it through her wedding night in one piece.
Once Edward whisks Bella off to a secluded tropical paradise, Condon again takes his time and fulfills fan fantasies with the honeymoon. He takes the PG-13 rating as far as he can, conveying genuine passion and even some humor in the couple’s long-awaited consummation.
Their marital bliss is short-lived. Bella soon learns that she is pregnant, and the half-human, half-vampire baby quickly proves that it is both super-strong and fast-growing. Edward hauls his bride back home to Forks, Wash., vowing to get “that thing” out of her, but Bella is determined to protect her unborn baby.
As the fetus saps Bella of her vitality, prevents her from eating normal food and develops at an astounding rate, the Cullens wonder if even an emergency vampire conversion will be enough to save the determined mom-to-be.
While Jacob is enraged to see the girl he loves bruised and emaciated from carrying “that monster,” werewolf alpha male Sam Uley (Tahlequah-born Chaske Spencer) has an even more dramatic reaction. The pack leader decides Bella’s baby poses an unacceptable threat to the community and declares war on the Cullens, forcing Jacob to make a difficult choice.
The first half of “Breaking Dawn: Part 1” moves slowly, but at least it taps into the appropriate emotions. The second half zips along rapidly but remains alarmingly flat and lifeless. In particular, Jacob’s heart-wrenching decision is made so quickly that its import seems lost, and the pivotal birthing scene, so compelling in the book, comes across as devoid of any real desperation, danger or life-and-death consequences. Even the addition of a few fight sequences fails to generate any real excitement.
Still the final moments of “Breaking Dawn: Part 1” live up to the hype, offering a crimson-hued glimmer of hope that the polarizing conclusion of “The Twilight Saga” will make for interesting viewing.
— BAM
Movie review: “Happy Feet Two”
Shawnee-born actor Brad Pitt and Matt Damon steal the show in "Happy Feet Two" by voicing a pair of tiny crustaceans named Will and Bill the Krill.
From Friday’s Weekend Look section of The Oklahoman. 2 1/2 stars out of 4, mostly because those krill are so darn charming!
Movie review: “Happy Feet Two”
Shawnee-born Brad Pitt and Matt Damon bring the same entertaining chemistry they employed in “Ocean’s Eleven” to their minor animated roles as Will and Bill the Krill, adding much needed charm to the busy, heavy-handed follow-up to the 2006 Oscar-winning animated feature.
For all the tap-dancing penguins, marching elephant seals and intimidating skua populating “Happy Feet Two,” two tiny creatures voiced by a couple of Hollywood’s biggest stars easily steal the show.
Shawnee-born Brad Pitt and Matt Damon bring the same entertaining chemistry they employed in “Ocean’s Eleven” to their minor animated roles as Will and Bill the Krill. Their winning, pun-punctuated banter adds much-needed charm to the overly busy, heavy-handed sequel.
For the follow-up to his 2006 Oscar-winning animated feature, director/producer/co-writer George Miller revisits the wilds of Antarctica and brings along the same gorgeous, hyper-realistic visuals so lovingly crafted in the first “Happy Feet.” This time, though, the bleakly beautiful views can be seen in eye-popping 3-D.
But the filmmaker packs the sequel with too many creatures and messages to replicate the buoyancy of his first South Pole adventure.
Penguins once again dance and sing in "Happy Feet Two," but it just isn't as engaging the second time around.
At its core, “Happy Feet Two” is a retread of the first film’s tale of a misfit penguin and his conformist father. Tap-dancing Emperor penguin Mumble (voice of Elijah Wood) has grown from an awkward eccentric to a leader of his colony, which now embraces both dancing and singing as desirable forms of expression. Mumble and his big-voiced sweetie Gloria (pop star Alecia “Pink” Moore, replacing the late Brittany Murphy) now are parents of their own fluffy fledgling, a bashful boy named Erik (Ava Acres).
Mumble urges Erik to try out his happy feet in a joyous musical number, but the chick’s clumsy dance moves make him the laughingstock of the community. Determined to run away from home, Erik and a couple of pals tag along when Mumble’s Adelie penguin pal Ramon (Robin Williams) decides to return to his homeland.
The changing landscape has turned Adelie Land into a haven for several species of penguins, who are no longer seeking the guidance of brash Rockhopper guru Lovelace (Williams again) but of a new leader, an enigmatic bird who calls himself The Mighty Sven (Hank Azaria).
Besides his Scandinavian accent and damaged bill, Sven differs from the penguin population in another key aspect: He can fly. Championing a self-empowerment philosophy he calls SvenTHINK, the newcomer preaches that all penguins can learn to soar if they simply put their minds to it.
By the time he tracks down his wayward son in Adelie Land, Mumble is dismayed to find that Erik has become a full-blown SvenTHINK devotee. The chick isn’t interested in dancing or singing; he only wants to learn to fly.
When they get back to Emperor Land, Mumble, Erik and their cohorts learn that a catastrophe has occurred that puts their colony in grave danger. Their quest to save their community intersects with a flock of scary scavenger birds called skua, a tough-talking elephant seal named Bryan the Beachmaster (Richard Carter) and Will and Bill the Krill.
Krill resemble miniscule shrimp and exist at the bottom of the oceanic food chain. When intrepid Will (Pitt) decides to leave the swarm and convert from prey to predator — “I’m gonna chew on something that has a face!” he declares — his fearful pal Bill (Damon) tags along with a notable lack of enthusiasm.
The overstuffed sequel not only brings back Hugo Weaving as an elder Emperor penguin and Anthony LaPaglia as the Alpha Skua, it also introduces rapper/actor Common as cool-dad Emperor penguin Seymour and Sofia Vergara as Carmen, a curvy Adelie beauty who becomes Ramon’s love interest.
As with the first “Happy Feet,” the sharply choreographed and bouncy, genre-crossing song-and-dance numbers are the highlight, even if some of the song choices are a little too on the nose. Likewise, Miller and the trio of screenwriters abandon any notion of subtlety when it comes to handling the film’s environmental message, with their penguin heroes soft-shoeing through puddles and dodging deadly breakaway icebergs.
— BAM
Blu-ray review: “The Tempest”
A version of this story appears in Friday’s Weekend Look section of The Oklahoman.
“The Tempest”
Dame Helen Mirren has the stuff that makes writer-director Julie Taymor’s dramatically dreamlike adaptation of William Shakespeare’s “The Tempest” work.
Widely considered one of The Bard’s last and best plays, “The Tempest” churns with many powerful, universal issues, including love and betrayal, revenge and forgiveness, freedom and slavery. With her new adaptation, Taymor (“Across the Universe,” Broadway’s “The Lion King”) gives Prospero, the lead character in the magical tale, a sex change, casting Mirren as Prospera and adding gender inequality into the thematic mix.
The Oscar-winning actress not only deftly delivers Shakespeare’s sharply penned dialogue but also fully inhabits the role of the banished sorceress and former Duke of Milan. Usurped by her backstabbing brother Antonio (Chris Cooper), Prospera and her daughter Miranda (Felicity Jones) have spent the past 12 years living on a remote island; their deformed and discontented slave Caliban (Djimon Hounsou) is the harsh land’s only other corporeal inhabitant.
Prospera makes magic with the help of an airy but mighty spirit named Ariel (Ben Whishaw), whom she released from imprisonment in an enchanted tree. She has long promised to loose Ariel from her service and agrees to free him after he helps her gain revenge on her brother.
With Ariel’s aid, she conjures a forceful storm that wrecks the ship bearing Antonio, King Alonso of Naples (David Strathairn), Alonso’s grasping brother Sebastian (Alan Cumming), the king’s son Prince Ferdinand (Reeve Carney, star of the embattled Taymor-devised Broadway musical “Spider-Man: Turn Off the Dark”) and Alonso’s jesters Trinculo (Russell Brand) and Stephano (Alfred Molina).
Washed ashore separately from the others, Ferdinand falls in love with Miranda, and Prospera compels the prince to become her servant. The enchantress uses Ariel to vent her fury on her brother and his royal friends, while Stephano and Trinculo encounter Caliban, who recruits them to help him overthrow Prospera.
Regarded as a visual sorceress in her own right, Taymor filmed “The Tempest” on location in the Hawaiian islands and showcases the black volcanic sand beaches, ruggedly beautiful cliffs and surging waves to great effect. But some of the special effects, particularly those used to depict Ariel, look as dated and hokey as an ’80s music video.
Costume designer Sandy Powell and composer Elliot Goldenthal merge various styles and time periods to augment the otherworldly storytelling, but the real magic comes from Mirren’s captivating lead turn.
Blu-ray features: Two audio commentaries, hourlong making-of documentary, Reeve Carney music video and rehearsal footage.
— BAM
CD review: “The Best of Rascal Flatts LIVE”
From Friday’s Weekend Look section of The Oklahoman.
Country
Rascal Flatts “The Best of Rascal Flatts LIVE” (Lyric Street Records/Hollywood Records)
“The Best of Rascal Flatts LIVE” serves as a sort of musical time capsule chronicling the superstar country band’s first decade together.
The live album features 10 tracks drawn primarily from the group’s first six albums; the Flatts’ three top 10 hits from their 2010 effort “Nothing Like This” are conspicuously absent.
That’s because for their first 10 years together, the band, which includes Picher-bred guitarist Joe Don Rooney, recorded on Disney Music Group’s Lyric Street Records. When Lyric Street shuttered in 2010, Rascal Flatts moved on to Scott Borchetta’s powerhouse Big Machine Records. Hollywood Records, another Disney imprint, is releasing “The Best of Rascal Flatts LIVE.”
The playlist may be a bit dated, but fans who have fond recollections of one or more of the band’s renowned concerts will probably enjoy reliving those memories with the live album. It opens with the perky party song “Bob That Head,” offers a fervent rendition of the group’s signature song “God Bless the Broken Road” and shows off the Flatts’ trademark tight vocal harmonies on “Still Feels Good.”
Rooney, lead vocalist Gary LeVox and bassist Jay DeMarcus pay earnest tribute to their fans with “Here’s to You,” then get the crowd belting along with the inspirational anthem “Stand” and the heartbroken ballad “These Days.” They close the album with their smash cover of Tom Cochrane’s “Life Is a Highway,” and for an encore, they roll through a couple of classic rock standards — Boston’s “Foreplay/Long Time” and The Edgar Winter Group’s “Free Ride” — in a medley that showcases Rooney’s strong guitar skills.
Running just shy of 45 minutes, “The Best of Rascal Flatts LIVE” clocks in at less than half the length of the band’s usual set. The compilation also has been cobbled together from different concerts — LeVox gives shout-outs to Georgia, California and Florida on various tracks — so it isn’t as cohesive as a live effort taken from a single show.
Still, “The Best of Rascal Flatts LIVE” does a reasonable job channeling the dynamic energy the band creates in concert.
— BAM
Concert review: Oklahoma Music Hall of Fame induction featuring Kristin Chenoweth, Nokie Edwards and more
Singer and actress Kristin Chenoweth stands in front of a painting of all the 2011 inductees into the Oklahoma Music Hall of Fame on Thursday, Nov. 10, 2011, in Muskogee. Chenoweth is from Broken Arrow and attended Oklahoma City University before moving to New York City and beginning a career in in theater, TV, film and music. (Photo by Adam Kemp, The Oklahoman)
Concert review: Oklahoma Music Hall of Fame induction
Kristen Chenoweth, Nokie Edwards, The Wayman Tisdale Band and more entertained as they received their honors.
MUSKOGEE — Kristin Chenoweth turned down invitations to present a prize at Wednesday night’s CMA Awards and perform at Thursday’s taping of the “CMA Country Christmas” TV special in Nashville, Tenn., for a better offer closer to her heart and home.
The Broken Arrow native returned to her home state for her induction Thursday into the Oklahoma Music Hall of Fame. And for the crowd of more than 2,000 music lovers who attended the hall’s Annual Induction Ceremony and Concert, the Country Music Association’s loss was certainly their gain.
As the headliner of the hall’s 2011 class, the Emmy- and Tony-winning singer/actress capped the more than three-hour celebration with an eclectic set of Broadway show tunes, pop standards and contemporary country songs. It was an especially fitting finale considering the diversity of the honorees, whose musical styles range from American Indian fusion to contemporary jazz to surf rock.
“People ask me what the best moment in my career has been so far all the time … and this is something I’ve always wanted since I was a little girl because music is an extension of me. I love it so much. And it is my honor and pleasure to be here and be a part of this prestigious club,” Chenoweth said after a video tribute from fellow Oklahoma Music Hall of Famer and singer/actor Sam Harris, who told her, “You are singular.”
Chenoweth, 43, opened her set belting the show tune “Should I Be Sweet?” from her 2001 debut album “Let Yourself Go,” and the diminutive blonde’s huge voice and oversized personality immediately seemed almost too big for the Muskogee Civic Center. She was unfazed by the occasional spates of microphone feedback, sometimes even using them as an excuse to show off her witty sense of humor.
“It is so nice to be here. Don’t worry if you don’t like opera, it’s almost over,” she quipped, switching from musical theater to contemporary country with “What Would Dolly Do,” a feisty tribute to Dolly Parton she co-wrote for her 2011 debut country album “Some Lessons Learned.”
The night was a mixture of sweet and bittersweet. The hall of fame inducted Thursday eight new members, including four posthumous honorees.
Along with Chenoweth, the class of 2011 includes basketball great and popular jazz bassist the late Wayman Tisdale and Rock; Roll Hall of Famers Nokie Edwards and the late Bob Bogle, both members of surf-rock pioneers The Ventures; and Gene Triplett, longtime entertainment editor of The Oklahoman.
The class of 2011 also features the late guitarist/keyboard player Jesse Ed Davis, who performed with Leon Russell, George Harrison and John Lennon; the late composer, lyricist and performer Ralph Blane, who wrote the holiday classic “Have Yourself a Merry Little Christmas” and the Oscar-nominated “The Trolley Song” from the musical “Meet Me in St. Louis”; and Oklahoma Music Hall of Fame Rising Star Award recipient Cheevers Toppah, a Kiowa/Navajo singer and Grammy nominee.
“A friend of mine called me the other day and he said, ‘Everywhere I go, Jesse’s with me. He’s in the car, on the radio, in the pharmacy, in the market. And it’s true. Everybody has heard him, and you don’t know that you’ve heard him,” said Kelly Davis, the widow of the respected session musician, who died in 1988 after overdosing on heroin.
The Russell Saunkeah Band opened its musical tribute to Davis with Jackson Browne’s jangly classic rocker “Doctor My Eyes” and Taj Mahal’s “Six Days on the Road,” two of the many hits on which the Norman-born guitarist played. The group paid homage to Davis’ musical prowess and Kiowa-Comanche heritage with the bluesy anthem “Alcatraz,” which Leon Russell wrote and Davis recorded for his 1972 album “Ululu.” American Indian poet/activist John Trudell helped close the set with “Rockin’ the Res,” one of his collaborations with Davis as Graffiti Man.
