Written/Directed by Michael Winterbottom
Featuring: Kieran O'Brien, Margo Stilley and some rock bands.
Throughout the film, we are asked to slog through concert footage from several bands... I think I may have listened to the BRMC once or twice, but everything else here is shit. Because the couple met at a venue, it's only to be expected that they spend a lot of time going to shows. But I have to say that this is the weakest aspect of the film. Winterbottom is expert at capturing sensuality, but not so much at capturing the feel of a live music venue.
There are also some vignettes where Matt spends some time in Antarctica, but it seems more like filler to push the film into the "feature length" category than anything to do with the relationship between him and Lisa. There is a bit where Lisa gives him a book on Antarctica, so I suppose that explains it, but it still seems random as hell to me.
I like this film because the unsimulated sex scenes are beautiful, and the chemistry between the two leads is used to great effect.
"Hoy y Mañana/Today and Tomorrow"Written/Directed by Alejandro Chomski
Featuring: Antonella Costa
This is a nice little film from Argentina. It's a joint production with a Spanish film company. It's very raw, but also very pretty. Lots of cityscapes and vérité. Twenty-something girl struggles on her own. Her gas is cut off, then she is threatened with eviction. Her borrowing power is naught, and she has an untenable relationship with her father, who lectures her and then doesn't give her shit! So what does she do? She becomes a street-walker. Of course, there's some reluctance... fear... that sort of thing. She's got no pimp and no street smarts, so she gets ripped off a couple of times. And when she does manage a little scratch, it's stolen by a guy pretending to be a cop. She meets a Spaniard looking for a little fun away from the wife, and he's loaded. Of course, she doesn't hold up her end of any bargain with him, which leaves her with the worst kind of options: old dudes in seedy motel rooms.
The film is a low budget visual wonder. There's no candy coating the lifestyle here, unless you believe it a must that all prostitutes end up drug wracked and STD infected (I say this being an avid reader of William T. Vollmann, who is a master at capturing these things at their most ugly, most human). Costa is very endearing and relatable as Paula. And I love the theatre scenes.
***
"Option Paralysis"/The Dillinger Escape Plan
Without question, The Dillinger Escape Plan is my favorite band of the last 10 years. I have never loved a band as I have this one. Sure, I love Ornette Coleman. I love Albert Ayler and Charlie Christian, and some of that old jazz music. I think Ted Leo is a gifted songwriter. But this band just does it for me. In general, I have drifted away from their style of music, but not from them (I might indulge in a #12 tune from time to time).
From "Cleopatra's Sling" (the first song by them I heard), to "The Mullet Burden," to the entire 11 track masterpiece that is "Calculating Infinity" to "Setting Fire to Sleeping Giants" and "Mouth of Ghosts," they have proven to be a skilled, versatile band. They have a punk ethic and a virtuosic touch. They're down-to-earth guys who take their music seriously. Themselves? Not so much.
I could talk about the lineup changes, the genius of lead guitarist and founding member Ben Weinman (the only original member left), but it's been done. I could use "Calculating Infinity" as a measuring stick to this, their fourth full-length release, but it's unnecessary. For the first time in their 13 year existence, they have released a dynamic, challenging, and extremely listenable record. I don't consider that a knock on their previous output. More, it's a comment on how they've managed to synthesize all their previous endeavors.
Here, you'll find tracks like "Chinese Whispers" and "Gold Teeth on a Bum," which seem to be a continuation and progression of the ideas and melodies found in "Milk Lizard" from '07's "Ire Works." "Widower," which is probably the most emotional song they've ever written... and includes some brilliant piano interplay between Weinman and guest musician Mike Garson (David Bowie). "Parasitic Twins," a song that, in parts, wouldn't be out of place on an A Perfect Circle record, and in other parts evokes 70's rock. The guitar solo at the end makes me think "Houses of the Holy" era Zeppelin.
And then there's this:
About 1:50 in, I was kind of expecting them to do some improv here, as it reminded me of some of their live sets, but it goes in a different direction. This is probably my favorite track on the record so far.
The most notable improvement here is the vocals. Greg has always had the dimensions. The ability (See: Spylacopa). But this is the first record where he really makes his mark, and it makes a big difference on the song writing end.
I recommend this to anyone who likes crisp musicianship, experimentation, and unpredictability. You can get it here: http://e-shop.season-of-mist.com/en/catalog/show/22675 that's the big package, but there are cheaper options if you're like me and have no money.
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