2011 Summer Jams

Hello, blinking cursor. It's been a while. But grades are in, the sun is out, and my free time (and urge to write) has been freed from the grubby clutches of another crop of community college students. It's time to write again. I figure a good way to start would be to share some music recommendations with the fine citizenry of the internets. So, fine citizenry, put the gossip site/fantasy team/porn video/whatever on hold for a few minutes and check out some sweet summer jams, courtesy of me. Good for beach bummin', pool partyin', and/or road trippin'. Let's dig in. Alphabetically, as always.

Honorable Mentions: Childish Gambino - EP (aka Donald Glover aka Troy from Community aka the best show on TV right now), Dave Hause - Resolutions (aka the lead singer of The Loved Ones), The Lonely Island - Turtleneck & Chain (just got it, but loving it so far -- also, this) Peter Bjorn & John - Gimme Some (you might know them as 'the band that did that song with the whistling'), The Sounds - Something to Die For (female vox, very danceable).

Daybreaker - The Northbound Trains EP
Genre: Punk/Folk/Acoustic
Standout tracks: "The Way Up North," "Where I'm Supposed to Be," "City Lights"

Although I don't really much know about this band (downloaded the EP on a whim from a music leak site), this has fast become one of my favorite releases of the year. In the same vein (philosophically if not acoustically) as personal favorites Lucero and The Gaslight Anthem, Boston-based Daybreaker plays earnest, unpretentious rock 'n' roll that claims blues, folk, and punk influences. This is the kind of stuff that makes you tap your foot and sing along with the window down (just watch the brake pedal) from the kind of band you'd love to see in a shitty dive bar on a Friday night (I'm thinking the Yucca Tap). I can't wait to hear more from these guys and am eagerly anticipating a full-length and some West Coast tour dates.

Someone kindly uploaded "Where I'm Supposed to Be" onto YouTube:

The Decemberists - The King Is Dead
Genre: Indie/Folk
Standout tracks: "Don't Carry It All," "Rox in the Box," "Down by the Water," "This Is Why We Fight"

This is one of two records from this year that have already made their way into my regular rotation (the other is next). You know, that upper 5% of albums that you can listen to anytime, anywhere, the album's you'll want to pass on to your friends (or down to your kids). I knew it would from the opening harmonica wail of "Don't Carry It All" and had it confirmed again during the opening of "This Is Why We Fight" and countless times in between. This isn't The Decemberists at their creative peak (Picaresque) or even at their best (The Crane Wife), but at their most focused. No lyrical embellishments, baroque arrangements; no nine-minute songs about fisherman, no prog-folk fairy tale concept album -- just a short, sweet, unadorned folk-rock masterpiece. Makes me want to go out to the farm and, I don't know, plant shit or milk a cow or wear overalls. See the stars shine overhead. That kind of thing. Just listen and you'll get it.

Start with "This Is Why We Fight":

The Foo Fighters - Wasting Light
Genre: Rock
Standout tracks: "Bridge Burning," "Rope," "Dear Rosemary," "Walk"

Blah, blah, blah, Kurt Cobain, blah, blah, blah. It really pisses me off that you can't read a review for this album (or any Foo album) without having Nirvana references shoved down your throat (and I realize I'm only adding to it here). You know what? I don't really like Nirvana. Never have. I'll give 'em credit for helping usher out hair metal... but was grunge really that much better? At least hair metal gave us "The Final Countdown" (and I mean that with all sincerity). Grunge gave us flannel shirts and Courtney Love. Thanks for nothing, assholes. Oh well, I'll settle for the Foos as a consolation prize. In all honesty, this album's pretty much more of the same from Grohl and Co. (now with Pat Smear back in the fold) -- big hooks, anthemic choruses, pummeling rhythms -- but I'll take another Foo record every few years for the rest of my life. Grohl is like Tom Petty that way (a comparison I'm seeing made more and more lately). Even though they sound nothing alike, they're both equally capable of cranking out songs/albums that are solid at the worst and iconic at their best (and this one's closer to iconic than solid -- just listen to the opening track... and that album art!) until they die. I'll bet the Foos are still selling out arenas in 20 years like Petty is now. I'm definitely looking forward to it.

Check out "Rope":

Lenka - Two
Genre: Singer-Songwriter/Pop
Standout tracks: "Two," "Heart Skips a Beat," "Blinded by Love," "Shock Me into Love"

...and now for a change of pace. In addition to hipsterish indie and testosterone-fueled guyrock, I've also cultivated a taste for twee girlypop. Scattered throughout my iTunes, you'll find such gems as Kelly Clarkson, Vanessa Carlton, Sara Bareilles, Lily Allen, Katy Perry, etc. Again, I'm being sincere here. However, my taste in such girlypop is discerning, but in no particular way -- I love all of the above, but you won't find anything by Avril Lavigne or Lady Gaga anywhere near my music collection. As a matter of fact, I can't stand 'em. Nothing will get me out of a room faster. Lenka, on the other hand, is definitely someone I can get behind, if you know what I'm saying (doggy-style sexual intercourse if you don't). I also enjoy her music very much. You might already be familiar with "The Show" from her first album (and you should familiarize yourself with it if you are not). Her appropriately-titled second album continues in the same tradition -- syrupy-sweet vocals ("And THAT'S how you get ants!"), eclectic arrangements, and eminent catchiness (seriously, some of these songs are harder to get rid of than some of the more virulent STDs... like ants). Check it out if you think you can handle it.

"Heart Skips a Beat" is a good a place to start as any:

Meg & Dia - Cocoon
Genre: Indie/Pop/Rock
Standout tracks: "Bandits," "Unsinkable Ships," "Breakdown," "Summer Clothes"

Meg & Dia have me at a loss. I'm really not sure who's supposed to like them, what their demographic is. Just by looking at them, you'd think they were manufactured pop stars. But they write their own songs and play instruments. They play at the Warped Tour to young and angry crowd, but their (sometimes clumsy) lyrics allude to sex and literature, things probably over the head of the typical pissed-off 14-year-old (and probably the obnoxiously drunk 30-year-olds too). They're kind of a confusing band. Evidently, the record labels agree with me, because they were dropped from their major label not too long ago. They're still cranking out hard-to-label records though, as evidenced by this year's excellent Cocoon. Running the gamut from, indeed, twee girlypop and radio-friendly rock to ambling country and spare folksy numbers, the album has something to offer everyone. My personal favorite is "Bandits," a song that leans more towards the "spare folksy" end of the spectrum about lovers run afoul of the law. I seriously listened to it about 8 times in a row the first time I heard it. I invite you to below. Enjoy, if you're into that sort of thing.

As promised, "Bandits" (I don't know why they're on bikes):

Social Distortion - Hard Times and Nursery Rhymes
Genre: Punk/Rock/Blues
Standout tracks: "California (Hustle and Flow)," "Machine Gun Blues," "Bakersfield," "Can't Take It with You"

I was never actually really big into "Social D" (in the parlance of our times). They were always one of those bands I enjoyed in passing, but their albums always had that dreaded "samey" feel to them (although friends have leveled that charge against Bad Religion, and they're not entirely off target, so who knows). That was before I heard this album though. Their sound (which always sounded kind of lackadaisical for punk to me) has been infused with some kind of shitkicking, downhome, almost Southern rock energy. Here, Social D sounds like what I'd imagine Ruckus (from the criminally underappreciated, and criminally overdramatic Elizabethtown) would sound like on record (and yes, I realize Paul Schneider's backing band is My Morning Jacket). Driving, almost bluesy rhythms, guitars that wail and sing instead of simply grind, and a chorus of female backing vocalists -- add Mike Ness's indistinguishable vocals to it all and the result is a fresh perspective on a band and a scene (California punk) that has flagged in recent years (Bad Religion's outstanding record last year not withstanding). This record is definitely on my playlist for summer road trips.

Put "Machine Gun Blues" in your pipe and smoke it (or in your iTunes and listen to it):

TV on the Radio - Nine Types of Light
Genre: Indie/Experimental
Standout tracks: "Second Song," "No Future Shock," "New Cannonball Run," "Repetition"

Some of my favorite things about this record: The title, the cover, the fact that the first song is called "Second Song," the horns on "Second Song" and how they kind of meld with the vocals after a while, the dueling senses of ominousness and playfulness, the crisp instrumentals and funky electronic flourishes, the title "Caffeinated Consciousness," and, finally, my favorite line of the year so far: "What's the matter with your next door neighbor? I heard he has sex, drugs, and danger." This tells me two things: 1) I need to get new neighbors, and 2) lead singer Tunde Adebimpe (who you might remember from Rachel Getting Married -- underrated flick) is a lyrical badass. In addition to lyrical badassery, he spends the record exploring all types of vocal stylings -- singing, rapping, screaming, crooning, he does it all. Just as his bandmates explore all genres and tempos. This record is as multifaceted as its cover would suggest.

Check out "Second Song" for one of the above-mentioned facets:

2011's been a solid year for music so far, and there's more good stuff on the horizon. Here's some that I'm looking forward to (physical release date in parentheses):
Death Cab for Cutie - Codes and Keys (May 31)
Arctic Monkeys - Suck It and See (June 7)
Vanessa Carlton - Rabbits on the Run (June 21)
Incubus - If Not Now, When? (July 12 -- already heard it, and digging it so far)
And supposedly the Red Hot Chili Peppers and New Found Glory will have new stuff in the late summer. We'll see how RCHP (not the correct abbreviation, I know) do without Frusciante...

...aaaand I'm done. Assume these last few lines would have been something clever if it weren't so late. I hope you enjoyed reading. Let me know what you think of these records and if there are any you like that I didn't list. I love getting music recs even more than giving them! Until next time.

Oscars 2011: The Best of the Rest

BEST CINEMATOGRAPHY
True Grit - Roger Deakins
Deakins is the man -- he needs a statue like Chaz Sheen needs blow. I could see any of the films winning this though. Black Swan was especially strong.

BEST EDITING
The Social Network - Kirk Baxter, Angus Wall
Has to be -- seems like half the movie was intercut, but never confusing. Bodes well for its Picture chances.

BEST ART DIRECTION
The King's Speech - Eve Stewart, Judy Farr
I guess. Seems to be between this and Alice in Wonderland, so I'll go with the prestige picture.

BEST COSTUME DESIGN
The King's Speech - Jenny Beavan
This award almost always goes to British period pieces. Although Colleen Atwood (basically the Jeanne McCarthy of costume designers) is definitely a contender. Could also see I Am Love winning.

BEST MAKEUP
The Wolfman - Rick Baker, Dave Elsey
At least it's not Norbit.

BEST SCORE
The Social Network - Trent Reznor, Atticus Ross
Because it would be badass to see Trent Reznor get an Oscar and be halfway to an EGOT. Inception (totally deserving as well) and The King's Speech figure to be contenders as well.

BEST ORIGINAL SONG
Toy Story 3 - Randy Newman, "We Belong Together"
Don't even remember it from the film, but... HAHA, no Burlesque noms! I could also see the Tangled song winning.

BEST SOUND MIXING
Inception - Lora Hirschberg, Gary Rizzo, Ed Novick
For two reasons: 1) The name Gary Rizzo. Love it. 2) If I pick Inception for both sound awards, I'm bound to get one right.

BEST SOUND EDITING
Inception - Richard King
See above, except replace "Gary Rizzo" with "Dick King" and "love" with "LOVE".

BEST VISUAL EFFECTS
Inception - Chris Corbould, Andrew Lockley, Pete Bebb, Paul J. Franklin
Has to be. Although HP7.1 was also impressive.

BEST ANIMATED FILM
Toy Story 3 - Lee Unkrich
Duh.

BEST FOREIGN LANGUAGE FILM
Biutiful - Alejandro González Iñárritu
Only one I saw. The Dutch one is supposed to be the favorite. But I can't stand the Dutch.

BEST DOCUMENTARY
Restrepo - Tim Hetherington, Sebastian Junger
Never saw it. Or any of them. Heard this and Exit Through the Gift Shop were good.

BEST DOCUMENTARY, SHORT SUBJECTS
Poster Girl - Sara Nesson, Mitchell Block
Total guess.

BEST ANIMATED SHORT
Day & Night - Teddy Newton
Actually saw all these. Didn't really like any of them. The Lost Thing was my favorite, and The Gruffalo was okay. I'm going with the Pixar one.

BEST LIVE ACTION SHORT
God of Love - Luke Matheny
Saw all of these too. They were all excellent. This was the best -- slick, funny, and touching.

Wherein I Predict the Oscars

At this time tomorrow, all the little golden naked dudes will have been handed out and I'll hopefully be in the midst of a decent wine buzz and fresh off an Oscar pool win. I haven't won in a few years, so I think I'm due. However, this year is also one of the hardest to call in recent memory (and this is coming from someone who's seen nearly everything). I've only got three of the major eight categories as "locks" -- Actor, Actress, and Adapted Screenplay. The other categories are about as perplexing as Inception's plot or Black Swan's ending. However it shakes out, this could turn out to be something of a crossroads for the Acedemy -- do they go with the more modern, unique pictures (The Social Network, Inception, etc.), or stick with the same old Oscar-bait prestige pictures (The King's Speech, True Grit, etc.)? Here's hoping for the former, not only for my ballot's sake, but for filmmaking in general. Here's hoping the Academy gets with the times. Onto the major category picks (technicals in the next, less wordy, post):

*indicates a performance/film I have not seen
bold indicates my pick

Best Performance by an Actor in a Supporting Role:
Christian Bale - The Fighter
John Hawkes - Winter's Bone
Jeremy Renner - The Town
Mark Ruffalo - The Kids Are All Right
Geoffrey Rush - The King's Speech

This is close to a lock, but I have this sickening feeling that a King's Speech night is more than possible. Should that worst-case scenario come to pass, I could see Rush winning this one (for a performance that I actually quite liked). He's Bale's only real competition here. I was overjoyed to see Hawkes nominated -- I'd been calling his performance Oscar-worthy since I first saw the movie -- but he'll have to settle for the WTF? nomination. Renner is about as tall as an Oscar statue, although his character's presence was much larger in The Town. A solid performance, but not one I'm sure I'd have nominated. Ditto Ruffalo, an actor I almost always like -- not the case in Kids, although I mostly blame that on a sitcom-level script that basically neutered his character (more on that later). I'd much rather have seen Andrew Garfield nominated for The Social Network. All that said, Bale deserves this award for what I really hope was a method, not meth, performance in The Fighter and for consummate professionalism over the years.

Best Performance by an Actress in a Supporting Role:
Amy Adams - The Fighter
Helena Bonham Carter - The King's Speech
Melissa Leo - The Fighter
Hailee Steinfeld - True Grit
Jacki Weaver - Animal Kingdom*

This is one of the most wide-open categories, and my "wild card" pick. My rationale - Adams is here because she's been nominated before, and Weaver is the John Hawkes-esque WTF? nod. Neither have a shot. Bonham Carter was good, but has relatively few stateside precursors (again though, beware the potential King's Speech juggernaut). Leo was solid, and the Academy seems to have some love for the film, but a) she rubbed a lot of people the wrong way with the ads she took out in the trades, b) I still see vote-splitting with Adams, and c) the Academy has more love for True Grit, to the tune of 10 total noms to 8. Sometimes, you have to go where the nominations are. Can a film with 10 noms get snubbed in every major category for which it's nominated (which most projections seem to suggest)? Sure, it could, but I doubt it will. I don't see it winning Adapted Screenplay, Actor, Director, or Picture, so that leaves this admittedly wide-open category. I predicted Tilda Swinton here a few years ago by this same logic, so let's hope it works again.

Best Performance by an Actress in a Leading Role:
Anette Bening - The Kids Are All Right
Nicole Kidman - Rabbit Hole
Jennifer Lawrence - Winter's Bone
Natalie Portman - Black Swan
Michelle Williams - Blue Valentine

This is one of the few locks -- no one seriously expects anyone but Portman to win here. There was a time when Bening was considered a legitimate contender, but her support has subsided as the buzz around Kids has worn off (thank god). I wish more people had seen Rabbit Hole -- both Kidman and costar Aaron Eckhart were excellent. Poor marketing, I guess. Williams was solid (and naked) in an emotionally-demanding role in Valentine, although I'm not sure her character's motivations were ever made clear. Lawrence was a force in Winter's Bone and perhaps someone to keep an eye on, although the same thing was said about Ellen Page a few years back (and she's done squat since Juno). Portman's got this one (and Best Achievement in Getting Your Box Mowed -- although Williams is close) locked up tighter than her character's legs.

Best Performance by an Actor in a Leading Role:
Javier Bardem - Biutiful
Jeff Bridges - True Grit
Jesse Eisenberg - The Social Network
Colin Firth - The King's Speech
James Franco - 127 Hours

This one looks like a lock as well, similar to last year's race. Firth, the respected vet, will finally get his statue. Truth be told, I thought he was actually better last year in A Single Man, but there was a definite gravitas to his performance in Speech that is Oscar-worthy. Not as Oscar-worthy as, say, Eisenberg or, especially Franco (in my favorite male lead performance of the year), but they're young whippersnappers who'll have to wait their turn (Franco will be back; not sure about Eisenberg though -- the perfect storm of actor and role). Bardem was haunting as a husband and father, well, haunted by his past -- and I totally called that he'd be the fifth nominee (you'll just have to trust me though). Bridges was solid for sure, but I think his nomination would have been better served going to someone like Eckhart or, hell, even Leonardo DiCaprio in Shutter Island (actually kind of disappointed it didn't get any recognition from AMPAS -- not surprised, just disappointed).

Best Writing, Screenplay Based on Material Previously Produced or Published:
Danny Boyle and Simon Beaufoy - 127 Hours
Aaron Sorkin - The Social Network
Michael Arndt, John Lasseter, Andrew Stanton, Lee Unkrich - Toy Story 3
Joel and Ethan Coen - True Grit
Debra Granik and Anne Rosellini - Winter's Bone

Our last lock -- and the most deserving, in my opinion. Sorkin's script for The Social Network is probably the best individual piece of any filmmaking from this past year. An absolutely flawless script, multi-layered and poignant, all from material considered to be "unfilmable." A total screenwriting gem. Of the other nominees, Toy Story 3's script is easily the most impressive (and probably the only of them that I'd actually have nominated). While I enjoyed both films, I can't say that 127 Hours or Winter's Bone were especially impressive from a script standpoint. As far as True Grit goes, I really didn't like it at all. I'm not sure if it was a flaw in the script or what, but every line fell totally flat on my ears, like the actors were instructed to read as if auditioning for a high school play. I don't know, but it was fucking terrible -- and I'm almost always a Coen apologist. I just didn't see it this year guys, sorry. This is another spot I would have liked to have seen some love for Rabbit Hole or Shutter Island.

Best Writing, Screenplay Written Directly for the Screen:
Mike Leigh - Another Year*
Scott Silver, Paul Tamasy, Eric Johnson, Keith Dorrington - The Fighter
Christopher Nolan - Inception
Lisa Cholodenko and Stuart Blumberg - The Kids Are All Right
David Seidler - The King's Speech

This one really pains me, because I really liked Nolan's script -- flawed, yes, but it's one of the year's true original ideas. A totally ambitious, complex, and damn-near genius script. Again, you have to go where the noms are though, and Speech has 12 of 'em -- the most of any film. Inception had 8, sure, but they were mostly in the technical categories -- Nolan getting snubbed for director (again) probably ensured a loss here. Speech had a solid script, but I can't be too impressed by an original screenplay so deeply rooted in documented history (and you'd have to think the eponymous speeches were historically accurate and therefore not "original," right?). It doesn't seem to be deserving, I don't see Inception winning, so what does that leave us with? I won't comment on Another Year because I haven't seen it -- but who else has? Certainly not enough Academy members to put it over the top. The Fighter? Again, too much historical basis and the underdog story practically tells itself. Yawn. That leaves The Kids Are All Right, which I don't (and haven't since I saw it) get. Seriously, the whole script is like some rejected Showtime pilot. Bening and Moore are great in the film, but I cannot for the LIFE of me fathom why **SPOILERS** Moore's character would sleep with her children's biological (sperm-donor) father. Asinine. And half the shit that comes out of Ruffalo's mouth thereafter is laughable. His character is completely castrated. Ugh. This is usually one of my favorite categories, but it's a weak field this year. Truly hoping Inception pulls it off, but I doubt it. (Oh yeah, and where's Black Swan??)

Best Achievement in Directing:
Darren Aronofsky - Black Swan
Joel and Ethan Coen - True Grit
David Fincher - The Social Network
Tom Hooper - The King's Speech
David O. Russell - The Fighter

While I'd be pissed if Speech wins Picture over The Social Network, I'd be positively apoplectic if Hooper beats Fincher here. I've had my issues (well, issue) with Fincher in the past (see: Benjamin Button, The Way Too Fucking Long Case of), but he completely and totally deserves this award. It's like Danny Boyle a couple years back -- a long overdue statue for a now-ascended filmmaker. Fight Club and, especially, Zodiac were marvelous, but The Social Network is Fincher's crowning achievement -- just about a perfect film. Fincher's cinematic wizardry perfectly compliments Sorkin's kinetic wordplay. Of the rest of the nominees, Hooper appears to be the main challenger, although I have no idea why -- Fincher's right ball could have directed that cast to awards nominations. I almost wish Aronofsky was getting more buzz, because Black Swan was pretty freaking excellent. I think he's in a similar position to Fincher when he made Zodiac a few years ago though -- he'll get his soon. The Coens have a lifetime pass to Oscar nominations, it seems, and Russell is deserving (although I wasn't as impressed with the film as the Academy clearly was).Truthfully, I would have much rather Nolan was nominated than either of those two, or even someone like Boyle or Lee Unkrich for Toy Story 3.

Best Motion Picture of the Year:
127 Hours
Black Swan
The Fighter
Inception
The Kids Are All Right
The King's Speech
The Social Network
Toy Story 3
True Grit
Winter's Bone

Cue Chris Parnell in Anchorman when the panda story is announced: "This is a big one." Monumental, even. The Academy has fucked up before (duh), and recently -- A Beautiful Mind over Fellowship and Crash over Brokeback (and both of those over the far superior Munich) come to mind -- but this one would hurt the most. Like, "I'm boycotting the Oscars next year" hurt. It would be unconscionable, if not quite unfathomable, for The King's Speech (or, if you're Roger Ebert, True Grit) to beat out The Social Network. Let's see, would you rather have formulaic, uninteresting, and irrelevant, or would you rather have unique, fascinating, and topical? The answer seems obvious, but the Academy can be remarkably out of touch at times. Let's hope this isn't one of them. Recognize the truly important film, not the stuffy, self-important one, AMPAS. Do it for the kids (even if they can't get away from their damned computers and/or smart phones). The Social Network is far and away the best film of the year, and it deserves the statue to go with it.

End ramble. Here's hoping for 8-for-8. Up next: the rest of the categories, quick-pick style.

Top 10 Films: 2010

I think I've written before about the difference between films and movies, and this year's crop of, er, cinematic releases clearly demonstrates that difference. It's part of the reason why I had such a hard time with my Top 10 (that, and there was a huge glut in the 7-12 range). Anyway, 2010 featured a good mix of both Oscar-style, prestige "films" and good old-fashioned fun "movies." How do you differentiate between intellectually-stimulating, technically marvelous "films" and the "movies" that produce a more visceral reaction? To put this in terms of alcohol (and, let's face it, that's something everyone can relate to), it's like choosing between wine and beer. Highbrow or low? Fancy or banal? How do you choose? My answer is, "You don't."  I tried to assemble a Top 10 that reflects that.  Let's begin:

Honorable Mentions:
The King's Speech
Predators
Shutter Island
The Square
Winter's Bone

10) Takers
Directed by: John Lussenhop
Written by: Lussenhop and some other dudes
Starring: Matt Dillon, Paul Walker, Idris Elba, Hayden Christensen's Hat

First off, yes, I'm totally serious. If it's good enough for Stephen King, it's good enough for me. Second, this was almost destined to be on the list -- it's got too many of my favorite things: Los Angeles, a heist, and Paul Walker (whom I have a sick fascination with). All that said, it's actually a taut little heist movie that's probably as good as it could have been (which is to say, somewhat greater than the sum of its parts). Comparisons to Heat are inevitable, but it's probably more like Uncomfortably Warm on the Michael Mann scale. But it does the whole Los Angeles, cop/criminal duality thing well enough that the comparison isn't insulting to one of my favorite movies/directors. The stunt casting (Chris Brown, T.I.) didn't help, but Dillon/Elba/Michael Ealy propped the rest of the cast up (Walker included) with strong performances. This was better than it had any right to be. Finally: A shout-out to Hayden Christensen's Hat (arguably the star of the show). Nice.

9) Rabbit Hole
Directed by: John Cameron Mitchell
Written by: David Lindsay-Abaire
Starring: Nicole Kidman, Aaron Eckhart, Dianne Wiest

One of the reasons I waited so long to post this list is because there was a number of 2010 films I wanted to see -- you know, all the awards contender-types that we don't get out here in the cultural wasteland that is Arizona until they've been out for a month or so. Two of the main ones were this and Blue Valentine. I didn't think either of them would make this list -- I've never been too keen on the "depressing relationship drama" type of film -- but I wanted to at least say I've seen most of the big art house stuff. Blue Valentine went as expected -- the well-acted, lovingly-made, feel-bad movie of the year. Not my cup of tea -- and I don't even like tea -- but good nonetheless. But not Top 10 good. Rabbit Hole was a different story -- not in the least because of it's more optimistic take of the whole "disintegrating relationship" story. The "death of a child" movie has been done many times before, but never quite with this mix of powerhouse acting (Kidman and Eckhart both should be up for Oscars), intricate script, black humor, and atheistic optimism. I've never seen that last one before -- that somehow there is hope because of the lack of a divine presence. That science can somehow be that crutch that people can lean on in times of tragedy. Such an interesting angle. Ditto all the visual repetition, the sense of a pattern hinted at in the editing (as well as in the eponymous comic book that's a key plot point). This is fine -- and terribly under-appreciated -- filmmaking.

8) Machete
Directed by: Robert Rodriguez and Ethan Maniquis
Written by: Robert Rodriguez and Álvaro Rodriguez
Starring: Danny Trejo, Robert De Niro, Michelle Rodriguez, Jessica Alba, Jeff Fahey

I love Machete because it's almost critic-proof. I mean, it's based off a fake trailer from Grindhouse and was made for $10 million. This is clearly not a movie made to please lovers of fine cinema. Like most Robert Rodriguez movies, it has an undeniable energy, clipping along at a frenetic pace, plot/audience be damned. If you can't keep up (or don't want to), you're at the wrong movie. But with a cast/characters like this, who needs a plot? That sounds like a terrible thing to say, and is no excuse for a bad movie, but Machete definitely isn't bad. It's not exactly "good," but it does a lot right. Danny Trejo finally gets a much-deserved lead role, Michelle Rodriguez is featured in one of the few roles where I don't want to strangle her, LOST alum Jeff Fahey shines as a corrupt businessman, Bobby D absolutely HAMS it up as a corrupt politician -- and Don Johnson even shows up! With gratuitous violence/T&A (a naked chick pulls a cell phone out of her snatch!), a coyote-truckload of self-depreciation, pseudo-social commentary, and the now-classic line "Machete don't text," Machete is a film of pure hubris -- as such, it demands a place in my Top 10 (and I sure don't want to piss Machete off).

7) Toy Story 3
Directed by: Lee Unkrich
Written by: Michael Arndt
Starring: Tom Hanks, Tim Allen, Wallace Shawn, John Ratzenberger

Toy Story 3 is the sentimental favorite on this list. I won't lie -- I got a little misty-eyed at the end. If you didn't, you probably don't have a soul and/or were beaten as a child. Toy Story 3 is a kid's movie whose message and themes is waaaay above the heads of its demographic. It's not so much about growing up as it is about taking that one last leap and leaving your childhood behind forever. What nine-year-old is going to comprehend that? And what adult is that not going to speak to? Oscar-winner Michael Arndt's (Little Miss Sunshine) script absolutely drips with pathos, and if the Academy has any sense, he'll garner another nomination this year (Edit: it did!). The voice acting and CGI are top-notch, as always with a Pixar movie. My only real complaint is the use (or non-use) of 3D. I saw it in 3D and honestly barely noticed it. An unnecessary face lift for a film that just didn't need it.

6) Scott Pilgrim vs. the World
Directed by: Edgar Wright
Written by: Edgar Wright and Michael Bacall
Starring: Michael Cera, Mary Elizabeth Winstead, Keiran Culkin, Chris Evans

Fellow pop culture junkies, be on your toes: This isn't so much a movie as a full-on, pop-culture, quote-fest orgy. In a good way. Director Edgar Wright (Shaun of the Dead, Hot Fuzz) doesn't miss a chance to test his audience -- every sound effect, ring tone, song, poster in the background, T-shirt, etc. is a reference to something else -- everything from Zelda to Seinfeld to Wayne's World 2 is given a shout out. Scottie P also boasts a stellar soundtrack -- a good mix of songs recorded for the film and old favorites (mostly Canadian). My favorite is the Metric song (performed by The Clash at Demonhead in the movie). As for the cast, the two leads (Cera and Winstead) are passable, but it's the cornucopia of supporting players that steal the show here -- it's a murderer's row of "Where the fuck do I know him/her from?!" types. There's less-famous siblings, Oscar nominees, internet comedians, TWO former superheroes, and (another) Arrested Development alum. Oh, and Jason Schwartzman. About my only complaint is with star Michael Cera, who I'm tired of saying I'm tired of. Learn a new trick already!

5) 127 Hours 
Directed by: Danny Boyle
Written by: Simon Beaufoy and Danny Boyle
Starring: James Franco

127 Hours has been described as a one-man show, referring to star James Franco. That's somewhat of a misnomer, however -- the film bears director Danny Boyle's unmistakable fingerprint, nearly elevating him to costar status. It's an odd pairing of subject matter and director -- Boyle's kineticism confined to one claustrophobic locale. It largely works, although Boyle does cheat somewhat by utilizing flashbacks and dream sequences. These sequences ultimately work to prevent the film from becoming monotonous and help to deconstruct the Alpha male, extreme athlete archetype, of which Aron Ralston becomes the real-life embodiment. It is captivating, disconcerting, harrowing, and eventually graphic watching Franco (in my favorite male lead performance of the year) go from confident to crippled, all in the course of a brisk hour and a half. It's a credit, I think, to both Franco and Boyle that it seems longer. Much longer. This is a film that I think will slip through the cracks come award time (pun definitely intended), but a necessary film, and the logical next step in Boyle's decidedly illogical directorial career.

4) Kick-Ass
Directed by: Matthew Vaughn
Written by: Jane Goldman and Matthew Vaughn
Starring: Aaron Johnson, Chloë Grace Moretz, Nic Cage, Mark Strong

Kick-Ass is in many ways both an anti-superhero movie and emblematic of how all superhero movies should be. I mean, even the "serious" ones like The Dark Knight and Watchmen are, at their core, about people that dress up in costumes to fight crime. So why shouldn't superhero movies have a little awkwardness, a little goofiness, a little slapstick, in addition to all that darkness and soul-searching and violence (which Kick-Ass also has, in spades)? Tonally speaking, I'm not sure I've ever seen a movie like Kick-Ass, with its gaudy set design, quirky casting, pitch-perfect score (love the John Murphy samples), and striking combination of sweetness and ultra-violence, perfectly embodied by 13-year-old Moretz as Hit-Girl (one of my favorite female performances this year), who has no problem dropping C-bombs, slitting throats, or crying over her dead father. Johnson is a likable lead, Mark Strong is a competent (if not rote) villain, and Nic Cage is, well, Nic Cage with some sort of weird Adam West-Batman thing going on. Take it or leave it, but don't miss out on the movie.

3) Black Swan
Directed by: Darren Aronofsky
Written by: Mark Heyman, Andres Heinz, and John McLaughlin
Starring: Natalie Portman, Mila Kunis, Vincent Cassel, Barbara Hershey

Continuing in the Mulholland Drive, lesbian-sex-mindfuck of a film tradition is Darren Aronofsky's Black Swan. Okay, so the two films really don't have anything to do with each other, but I couldn't resist the comparison. Well, maybe they do have a lot in common, on second thought -- in addition to the obvious, both have an engrossing story, creepy old people, awards nominations, and fine lead performances. Natalie Portman finally graduates to the acting elite her performance here, making Aronofsky two-for-his-last-two with Oscar-nominated lead performances (although don't count on him going three-for-three). Cassel and Hershey (the aforementioned creepy old person) are great in supporting roles, but I don't see the hype for Mila Kunis. I'm glad the Academy showed some brains in not nominating her -- if they did, they might as well have retroactively nominated her for Forgetting Sarah Marshall or That '70s Show, because she played the exact same character in all three instances. Just because this film is a higher pedigree doesn't mean a middling performance is suddenly elevated. Unless they wanted to nominate her for mowing box like a champ (hey, it worked for Jake Gyllenhaal, although he was definitely the receiver). Anyway, Black Swan is the art house film of the year -- impressive craftsmanship, intellectually interesting, sexually and morally ambiguous, and a sure bet for a cult following.

2) Inception
Directed by: Christopher Nolan
Written by: Christopher Nolan
Starring: Leonardo DiCaprio, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page, Ken Watanabe

I thought long and hard about where to put this one -- it has about as many flaws as strengths, and, as such, about as many detractors as proponents. In the end though -- and it's pretty much a cop-out, I'll admit -- I put it here at #2 not because of the film it is, but what it means to filmmaking in general: Inception represents what movies could be, the future of cinema. Kind of like Avatar last year -- neither are especially great from an acting or storytelling standpoint -- you know, those parts of filmmaking that have been more or less perfected over the years -- but they excel, nay triumph, in the technical wizardry that has been the magical half of filmmaking ever since Méliès (which is to say, nearly since the beginning). These movies are, to this point, the pinnacle of escapist entertainment, making movies like Transformers and the Star Wars prequels look like they were made with Microsoft Paint. So, yes, Inception has wooden characters, monotone dialogue, negligible character development, and a largely incomprehensible plot, but the sheer audacity of the narrative, of the visuals -- many of which were practical, in-camera, effects! -- of the idea mark it as a special film, and one that will be remembered in the coming years as a turning point in the evolution of filmmaking, even if some aspects of it fall flat (which is perhaps why Nolan missed out, again, on a Best Director nomination).

1) The Social Network
Directed by: David Fincher
Written by: Aaron Sorkin
Starring: Jessie Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Rooney Mara

Born from the collaboration between one of the best directors (Fincher) and screenwriters (Sorkin, be the screen large or small) working today is a movie that does excel from an acting and storytelling standpoint: The Social Network. Fincher's invisible hand is felt in every frame, every transition, every camera movement, while Sorkin's bravura is heard in every word (and there are a LOT of them). The Social Network takes the very Shakespearean (Wellesian?) themes of greed, betrayal, and jealousy and applies them to that generation-defining website, Facebook. The result is a complex, oft-chilling, study of "Now" -- Facebook is more or less the nexus of social interaction these days, and exploring its genesis says a lot about human interaction in the 21st century -- how trivial, petty, mean it can be. Has it always been this way? Probably. But it's a lot easier to be an asshole (and make a whole fuckton of money) when computers are involved. Jesse Eisenberg is positively acerbic in an Oscar-nominated performance as Mark Zuckerberg (or at least Fincher and Sorkin's mythologization of him), while Garfield is the emotional crux (and should-be Oscar nominee) and Timberlake is utterly soulless as the more or less antagonist. The emotions are raw, the narrative complex (but not convoluted), the dialogue frenetic, and all is kept in check by Trent Reznor and Atticus Ross's moody, ambient score. This is my favorite -- and the best -- film of the year, and a potential Best Picture winner. It's a rare thing when all three of those things even have a chance to come together. Who knew it would be a movie about a a website that introduced "Poking" into our lexicon? But hey, at least it wasn't MySpace.

I know it's been 2011 for 30 days now, but these were my favorite movies of 2010. For those curious, The Wolfman was the worst movie I saw last year. Not even worth writing about. Just bad. Thanks for reading, and I'll be back to ramble about the Oscars before too long. Ciao for now.

Golden Globes picks

The Globes ceremony starts in about an hour, so I figured I should take a break from putting together my 2010 movies list to scrap together some quick predictions. Easier said than done, however, because it's the Hollywood Foreign Press Association, so all bets are off. At times (this year being one of those times), they seem to have about as much credibility as the people behind the Razzies (the Best Musical/Comedy could easily double as the Worst Picture nominees -- The Kids Are All Right included). Last year, I compared the HFPA to the "Two Wild and Crazy Guys" of SNL fame; this year, I'm going with the guy at the end of this commercial. How else to explain not one, but two Johnny Depp nominations? Oh, Europeans. Anyway, that's probably about enough of an intro ramble, so on with the picks:

*indicates a film/performance I have not yet seen
bold indicates my pick

Best Performance by a Supporting Actress in a Motion Picture
Amy Adams - The Fighter
Helena Bonham Carter - The King's Speech
Mila Kunis - Black Swan
Melissa Leo - The Fighter
Jacki Weaver - Animal Kingdom*

Logic: The ladies from The Fighter would figure to split the vote, Kunis is just happy to be nominated (although I don't know why, as she basically played her That 70's Show character), and nobody has heard of Weaver (although she could be a wild card). Bonham Carter's appearance in the also-nominated Alice in Wonderland (not terrible, not great) would seem to swing more votes her way).

Best Performance by a Supporting Actor in a Motion Picture
Christian Bale - The Fighter
Michael Douglas - Wall Street: Money Never Sleeps
Andrew Garfield - The Social Network
Jeremy Renner - The Town
Geoffrey Rush - The King's Speech

Logic: Although I'm not sure how an American sports movie managed to garner so many nominations, the HFPA seemed to like The Fighter. This seems to be the best place to give it a statue, although Rush is a definite contender here as well. Douglas is only nominated because he has cancer, all 3'8" of Jeremy Renner has no shot, and Garfield figures to be more of a contender at the Oscars, as I don't see The Social Network having a big night here.

Best Performance by an Actress in a Motion Picture - Musical or Comedy
Annette Benning - The Kids Are All Right
Anne Hathaway - Love and Other Drugs*
Angelina Jolie - The Tourist*
Julianne Moore - The Kids Are All Right
Emma Stone - Easy A*

Logic: Because she's the only one likely to be nominated for an Oscar (Moore will likely be nominated in Supporting). Hathaway and Jolie have to be joke nominations, and Stone might as well not even show up. I actually prefer Moore's performance to Benning's, but she has the whole bride/bridesmaid thing going on. While we're here, I really don't get the fuss about the movie, lead female performances aside -- didactic script, nonexistent directing, and too much melodrama. What am I missing? Oh yeah, the normally reliable Mark Ruffalo's awful character (not performance, necessarily).

Best Performance by An Actor in a Motion Picture - Musical or Comedy
Johnny Depp - The Tourist*
Johnny Depp - Alice in Wonderland
Paul Giamatti - Barney's Version*
Jake Gyllenhaal - Love and Other Drugs*
Kevin Spacey - Casino Jack*

Logic:  Because he's the most famous and has the showiest performance. I can only figure the other four performances are nominated because they had to have five for the ballot. If you put a gun to my head, I'd say the next most likely is Giamatti, if for some reason Depp's votes are split. It wouldn't be all that big of an upset, really.

Best Performance by an Actress in a Motion Picture - Drama
Halle Berry - Frankie and Alice*
Nicole Kidman - Rabbit Hole*
Jennifer Lawrence - Winter's Bone
Natalie Portman - Black Swan
Michelle Williams - Blue Valentine*

Logic: Because Portman has been and will continue to win everything, and deservedly so. She's startlingly maniacal in Black Swan and delivers the best female performance of the year. Kidman has the next best shot; HFPA always seems to love her. Williams is next in line, Lawrence was great but her movie was too small, and I don't know what the fuck a Frankie and Alice is.


Best Performance by an Actor in a Motion Picture - Drama
Jesse Eisenberg - The Social Network
Colin Firth - The King's Speech
James Franco - 127 Hours
Ryan Gosling - Blue Valentine*
Mark Wahlberg - The Fighter

Logic: Because I see this as being a King's Speech kind of night. Although Firth has got a great shot at the Oscar as well, this is his most sure bet. Franco had the tougher job (carrying an entire film) and will be his main Oscar competition. Eisenberg is not a contender here, and is no better than a dark horse in March, Gosling could surprise (although he might not even get an Oscar nod), and Wahlberg should be content with the nomination.

Best Screenplay - Motion Picture
Simon Beaufoy, Danny Boyle - 127 Hours
Christopher Nolan - Inception
Lisa Cholodenko, Stuart Blumberg - The Kids Are All Right
David Seidler - The King's Speech
Aaron Sorkin - The Social Network

Logic: Although I don't see The Social Network as the HFPA's cup of tea (get it -- they're foreign!), I don't see them overlooking Sorkin's screenplay, easily the best of the year. Seidler is obviously a contender if King's Speech sweeps, and I think that Nolan actually has an okay shot for a screenplay that features virtually no character development and terrible dialogue. Beaufoy and Boyle are nominated on reputation (Michael Arndt's Toy Story 3 script is a more deserving nominee), and the worst part of Kids was the script, which I don't see as having a shot.

Best Director - Motion Picture
Darren Aronofsky - Black Swan
David Fincher - The Social Network
Tom Hooper - The King's Speech
Christopher Nolan - Inception
David O. Russell - The Fighter

Logic: Because Fincher's technical craftsmanship has gone unrecognized for too long and should figure to sweep most awards (Oscars included). Hooper is a contender, but a gimp could have successfully directed that cast. Aronofsky and Russell figure to see their movies awarded in different categories (and are further down the chain than Fincher), and I think, while Nolan's got more of a shot than you'd think, he'll bow to Fincher.

Best Motion Picture - Musical or Comedy
Alice in Wonderland
Burlesque*
The Kids Are All Right
Red*
The Tourist*

Logic: Because... Burlesque?! Really?? Red?! Really?? The ****ing Tourist?! Really?? Alice in Wonderland I can kind of see because of the pedigree and the spectacle, and it's the only other real contender here, but Kids is the only halfway decent film of the bunch, so it should win by default. But no Scott Pilgrim? Get Him to the Greek? The Extra Man (totally underseen this year)? I dunno... Due Date? Seriously awful nominations. Just awful.


Best Motion Picture - Drama
Black Swan
The Fighter
Inception
The King's Speech
The Social Network

Logic: Because I see this year as similar to 2007, when Atonement (high-pedigree British film) won the Globe but the Oscar went to No Country for Old Men (career-capper by American auteur). This year, Speech and Network fit the respective bills this year. Again, Fighter and Swan are fine films, but they'll be recognized in other categories. One last note: I have a weird feeling nobody is giving Inception much credit -- I think it could win any category for which it's nominated. Not that it will, but I think it can. It made too much money for it to not win anything. Just sayin'.

Alright, time to open a bottle of wine, fire up the old boob tube, and watch a bunch of Hollywood types get drunk and fete each other (sounds dirtier than it actually is). I love the Globes. Up next, Top 2010 Films, then Oscar noms! Ciao for now.

(Oh, and I don't care about the TV categories, but, uh, go shows I watch!)

Top Songs: 2010

 As promised, here are my favorite jams of oh-ten, in one easy-to-burn list (if you're still into burning cds). A pretty good start for the decade, all in all. In alphabetical order (the bolded ones are the best):

Against Me! – “Spanish Moss”

AM Taxi – “The Mistake”

Bad Religion – “Only Rain”

Chromeo – “The Right Type”

Eminem – “Almost Famous”

The Forecast – “Kisses”

The Gaslight Anthem – “The Diamond Church Street Choir”

The Hold Steady – “Hurricane J”

Ida Maria – “Bad Karma”

Jeff Bridges – “Fallin' & Flyin’”

Jenny and Johnny – “Just Like Zues”

Jimmy Eat World – “Coffee And Cigarettes”

Kanye West – “Hell of a Life”

Katy Perry – “California Gurls”

Minus The Bear – “Into the Mirror”

Motion City Soundtrack – “Pulp Fiction”

Sara Bareilles – “Uncharted”

She & Him – “In the Sun”

The Spill Canvas – “Our Song”

Stars – “Wasted Daylight”

Tim Barry – “Thing Of The Past”

Tom Petty & The Heartbreakers – “Jefferson Jericho Blues”

And, as a bonus, some "b-sides" -- aka my next few favorite jams. It's just short of 50 in total. Again, alphabetical order:

The Apples in Stereo - "Nobody but You"
Arcade Fire - "Ready to Start"
The Bird and the Bee - "Maneater"
The Bouncing Souls - "We All Sing Along"
Brandon Flowers - "Was It Something I Said?"
Four Year Strong - "Wasting Time (Eternal Summer)"
Gold Motel - "We're on the Run"
Jukebox the Ghost - "Mistletoe"
Kate Nash - "Paris"
Kevin Seconds - "There's a Hole"
Kid Cudi - "REVOFEV"
LCD Soundsystem - "You Wanted a Hit"
Linkin Park - "Blackout"
Matt & Kim - "AM/FM Sound"
My Chemical Romance - "Party Poison"
Ra Ra Riot - "Shadowcasting"
Rouge Wave - "We Will Make a Song Destroy"
Shout Out Louds - "Show Me Something New"
Smile Smile - "Cancer"
Ted Leo and the Pharmacists - "Bottled in Cork"
Torche - "Cast into Unknown"
Wavves - "Post Acid"
!!! - "Even Judas Gave Jesus a Kiss"

Finally, even though I do not normally endorse reading Pitchfork, they did assemble a pretty good collection of music videos from this year. There are videos for the Ted Leo, Wavves, and She & Him songs, as well as other videos by artists on my lists. Make sure to check out the "Miracles" video by Insane Clown Posse (seriously, amazing). Enjoy!

http://pitchfork.com/features/staff-lists/7898-the-top-music-videos-of-2010/

Top Albums: 2010

It's been a while... time to dust off the old blogging machine (had to change the name though; the old one didn't make sense anymore). Four summer classes and eight, count 'em, EIGHT fall classes will do that to ya. Anyway, there's only about a week and a half left in the year, so I thought I'd share my favorite records with y'all. They made me laugh, cry, and ponder the meaning of life... not really. Mostly, they just kept me company on my commute to work and while I graded hundreds of papers. I even saw some of them live. I'll post my favorite songs and movies later. Who knows, maybe I'll be able to regularly spout my patented brand of B.S. at ya on a more regular basis. Anyway, we'll start with the Honorable Mentions, in alphabetical order:

!!! - Strange Weather, Isn't It?
AM Taxi - We Don't Stand a Chance
The Bird & The Bee - Interpreting the Masters Vol. 1: A Tribute to Daryl Hall & John Oates
The Black Keys - Brothers
The Bouncing Souls - Ghosts on the Boardwalk
Crazy Heart - OST
Eminem - Recovery
Gold Motel - Summer House
The Hold Steady - Heaven Is Whenever
Kate Nash - My Best Friend Is You
Minus the Bear - Omni
Sara Bareilles - Kaleidoscope Heart
Sundowner - We Chase the Waves
Ted Leo and the Pharmacists - The Brutalist Bricks
Wavves - King of the Beach

Put that in your hollowed-out apple and smoke it. That's 15 records, meaning the forthcoming Top 10 (with pictures and videos... ooohhh! aaahhh!) makes it an even 25 (although that's definitely an odd number). Here we go:

 10) She & Him - Volume Two/Jenny and Johnny - I'm Having Fun Now (tie)
Produced by: M. Ward/Jenny and Johnny
Standout tracks: "In the Sun," "Don't Look Back"/"Scissor Runner," "Just Like Zeus"

A little controversy right off the bat! I'm good like that. But I figure I can get away with lumping these two together into one entry. You know, the whole "former actress decides to make '60s throwback pop album with well-known dude guitarist" thing. Granted, Jenny "Jenny" Lewis has been doing it a lot longer than Zooey "She" Deschanel, but they both pull it off with equal aplomb here. I'll give the M. Ward (the eponymous "Him") the nod for his excellent guitarwork, but Johnathan Rice ("Johnny"... duh) gets credit for lending his vocal talents to many of the tracks. Regardless of who does what, both are near-perfect summer albums -- vibrant guitars/keys, bounding rhythms, sunny harmonies, fetching choruses, the works. The friendly interplay between each duo is as palpable as summer sunshine. Makes me wonder what the next actress/guitarist combo will be... Natalie Portman/Brendan Benson? How about Lindsay Lohan/Sufjan Stevens? I might actually pay to see that. Or maybe these two acts just do the musical equivalent of wife-swapping. Or maybe get Deschanel's hubby (Ben Gibbard) or Lewis's former bandmate (Blake Sennett) involved. Sounds like a hell of a musical orgy.

She & Him - "In the Sun":

9) Motion City Soundtrack - My Dinosaur Life
Produced by: Mark Hoppus
Standout tracks: "Disappear," "Stand Too Close," "Pulp Fiction"

See my last post (waaaaay back in April, yikes) for a more detailed write-up, but I'll just say that the band made a good choice teaming up with Mark Hoppus again for this one. Some really good, poppy stuff. The album is rife with clever, albeit nerdy, lyrics about everything from anime to Veronica Mars; a pop culture junkie like yours truly can't help but smile at every reference. Coupled with the songwriting sensibilities and instrumental panache that the band perfected over three previous albums, MCS's major label debut (seriously? seems like they've been on a major the whole time...) is their most polished effort yet, even if it lacks the emotional depth of their first two records. But who cares about emotional depth when you have dinosaurs and keyboards, right (not to mention Quentin Tarantino references)? Speaking of Tarantino references, "Pulp Fiction" is easily one of my favorite jams of the year -- too bad they don't have a video for it.

"Disappear":

8) Chromeo - Business Casual
Produced by: Philippe Zdar
Standout tracks: "Don't Turn the Lights On," "The Right Type"

I first heard of these guys when flipping through the channels when I lived in L.A. a few years ago (has it been that long? Damn...). I stopped on Fuse when the video for "Bonafied Lovin'" came on. It's definitely inspired by one of my all-time favorite videos (Dire Straits' "Money for Nothing"), so of course I was watching, regardless of the band. Turns out the song was also awesome -- funky, synth-y, and irreverent. Years later, I'm still not entirely sure if I'm supposed to be taking these guys seriously (watch their videos to see what I mean), but I don't really care. Their latest is smooth, immaculately produced, is an absolute blast to drive to, and makes me feel dirty in the best possible way. Do yourself a favor and check it out -- just be careful if you listen to it in public, because panties are gonna be a-droppin'. Bring an umbrella. A panty umbrella.

"Don't Turn the Lights On":

7) Jimmy Eat World - Invented
Produced by: Mark Trombino, Jimmy Eat World
Standout tracks: "Heart Is Hard to Find," "Coffee and Cigarettes," "Action Needs Audience," "Mixtape"

Hey, I'm from Arizona (thank god not Mesa though); it had to be on here. Local hero shoutout aside, Jim Adkins and Co. have established themselves as the consummate purveyors of heart-on-the-sleeve pop-rock, and this record further hammers that point home. Tonally speaking, this record bears a striking resemblance to 2004's Futures (maybe my favorite JEW record... don't tell anyone) with its crushing guitars, brooding basslines, electronic flourishes, and world-weary sensibilities. Definitely more of a downer than their last one, Chase This Light. I think this is actually the record I was expecting them to release after Futures (which is why I didn't like Chase This Light as much at first). At the same time though, it also feels like a possible throwback to/update of their seminal (haha... seminal) 1999 masterpiece Clarity. If you don't believe me, just listen to the title track. Or "Mixtape," the latest in JEW's patented series of epic album closers. Or "Action Needs Audience" -- yup, that's Tom Linton on vox, who we haven't heard from since, you guessed it, Clarity. They even brought back the same producer. A step forward while looking back. Sounds dangerous, but JEW pulls it off with confidence.

"My Best Theory":

6) Bad Religion - The Dissent of Man
Produced by Joe Barresi
Standout tracks: "Only Rain," "Wrong Way Kids," "Cyanide," "I Won't Say Anything"

It's almost hard to believe that Bad Religion has been around for 30 years... and they're still putting out excellent music! Even crazier is that they're not even the oldest band on the list (see #2). Released 31 years after their formation, The Dissent of Man marks Bad Religion's best album in at least a decade, a multifaceted effort that blows the last few by-the-numbers releases out of the water. Rather than an assortment of >2:00 filler tracks peppered with standouts ("Sorrow," "Let The Eat War," "New Dark Ages," et al.), Dissent's offerings are consistently full-fledged, ranging from the blistering ("Only Rain," "The Resist Stance") to the tuneful ("Devil in Stitches," "Cyanide"). It's a decisively mature effort from a band that seemed to have plateaued in recent years -- and it plays great live too, even if the band is a bunch of balding graybushes.

5) Stars - The Five Ghosts
Produced by: Tom McFall
Standout tracks: "Wasted Daylight," "Fixed," "We Don't Want Your Body," "The Passenger"

There's just something about Canucks and their indie rock -- moody, haunting, grandiose, and maybe a bit self-indulgent. You'd think I'm referring to the Arcade Fire and their critically-fellated The Suburbs, but no. The Suburbs is a fine album... but no -- clocking in at over an hour, for every resonant high note ("Ready to Start," "City with No Children," for example), there's two or three aimless, ephemeral interludes or refrains (I'll stop just short of calling them filler). I'm all about appreciating music on the album level, but I generally like my music (especially indie from Canadia... spelling intentional) a bit more grounded. Enter Stars, something like second cousins once-removed from Arcade Fire in the incestuous Canadian indie family (probably closer than that... I know both bands have been involved with the musician's orgy that is Broken Social Scene). Stars takes the general aesthetic (male/female vocals, spellbinding choruses, moody atmospheres, etc.), adds a few electronic flourishes and slightly saccharine lyrics, and bottles it up into a spacey, 40-minute indie-pop gem. Torquil Campbell is solid as ever, but Amy Millan might be at the top of her game here.

"Fixed":

Hyperlink, because their record company is lame.

4) Kanye West - My Beautiful Dark Twisted Fantasy
 Produced by: Kanye West and about a billion other people
Standout tracks: "Dark Fantasy," "Monster," "Hell of a Life"

Although someone needs to teach Kanye a thing or two about comma usage with coordinate adjectives (not to mention, I don't know, general douchebaggery), he's nonetheless about as singular a talent there is in mainstream music today (be it rap, hip-hop, pop, or whatever you want to call this). After a couple years of misstep after misstep (808's and Heartbreaks, Taylor Swift, etc.... although I think "George Bush doesn't care about black people" is one of the quotes of the decade), he's back in full force with My Beautiful Dark Twisted Fantasy. Kanye's strengths -- production, pop sensibilities, A+-list guest talent -- are on full display here. Fantasy ranges from elegant and personal ("Dark Fantasy") to good, dirty fun ("Hell of a Life") to full-on, rap-orgy shitshow ("Monster," featuring, no joke, Jay-Z, Rick Ross, Nicki Minaj, and Bon freaking Iver... not that that's a single person or anything). Although Kanye's weakness has always been his lyrics, even the missteps are gold here: "So much head, I woke up to Sleepy Hollow," for example. I get what he's trying to say, but it still makes no sense... and it's kind of genius. Just like most of Kanye's stuff. The only real swing and miss is "Runaway," a lumbering 9-minute quasi-apology track ("Let's hear it for the douchebags") that drags the record down in the middle of a strong run. But, as always with Kanye, you've got to take the... not necessarily bad, but at least strange, with the good. And there's plenty of both to go around on this record.

Short video for "Power":

3) Against Me! - White Crosses
Produced by: Butch Vig
Standout tracks: "White Crosses," "I Was a Teenage Anarchist," "Spanish Moss"

Again, see the April post for my last writeup on the album, but this is one that has stayed with me all year (having leaked all the way back in March). I actually saw these guys in July (opening for Silversun Pickups in Vegas), and the new stuff plays pretty well, even if the crowd wasn't exactly amped up to hear it. I'll have to make a point to see them headlining. Moving on, the same stuff I said about them last time holds true -- another step away from their roots, and they're better off for it (even if many "fans" don't exactly think so). Why can't bands mature and change in peace? They don't want to make the same record, and play the same sound, over and over, and I certainly don't want to listen to it. Move along if you don't like it. End mini-rant.

2) Tom Petty and the Heartbreakers - Mojo
Produced by: Tom Petty, Mike Campbell, Ryan Ulyate
Standout tracks: "Jefferson Jericho Blues," "First Flash of Freedom," "Running Man's Bible," "High in the Morning," "Good Enough"

Speaking of bands from Florida, bands maturing, and bands I've seen live this year, let's talk about Tom Petty and the mother fucking Heartbreakers. They've been my favorite band for a long time, but their studio work has been stagnant, having not released a great record since freaking 1991 (Into the Great Wide Open, although Petty's solo work, especially Wildflowers, has been more than enough to bridge the gap). Enter Mojo, recorded entirely live and a rollicking return to form for one of American rock and roll's most legendary acts. Far and away the Heartbreakers' best work, Petty takes a backseat to his prodigious (and criminally underappreciated) bandmates, especially keyboardist Benmont Tench and guitarist Mike Campbell. In fact, this could easily be said to be Campbell's album, as his scintillating guitarwork is the driving force behind the record. Recalling greats like Jimmy Page and Ritchie Blackmore, as well as the highlights of his own five decade-spanning career, Campbell marks his territory as one of the best rock guitarists around. Master of the slide guitar, Campbell sears, shreds, and picks his way through stompers ("I Should Have Known It"), slow-burners ("First Flash of Freedom," "Good Enough"), and everything in between -- even a bit of (perhaps ill-advised) reggae ("Don't Pull Me Over"... a Tom Petty song about weed, 'nuff said). Also prominently featured is Tench, owner of probably the coolest name in rock and roll (just say it.... Benmont Tench... awesome) and smooth pimp on the keys (check out "Running Man's Bible"). Behind it all, of course, is Petty himself, rock and roll's aging bearded badass. Easily the most musically impressive release of the year -- and it's phenomenal live. Glad to have my favorite band back in top form. This record wails.

"Jefferson Jericho Blues":

1) The Gaslight Anthem - American Slang
Produced by: Ted Hutt
Standout tracks: "The Diamond Street Church Choir," "Boxer," "The Spirit of Jazz"

I'll admit it -- I dropped the ball on The '59 Sound.  I completely underappreciated it at first -- it's definitely a top-3 album for that year, not buried in the late teens like I originally had it. Obviously, I won't be making the same mistake a second time, as American Slang has occupied its #1 spot practically since it leaked back in April. I say "practically" because it didn't get to that #1 spot until track 4 -- "The Diamond Street Church Choir," easily my favorite, and the best, song of the year. I knew it from the glib first few chords, the "Woo-hoooo" vocal intro, and the suave, lilting first few lines: "Now the lights go low on the avenue / and the cars pass by in the rain..." Then it all came together in the Van Morrison-esque chorus and totally blew me away. This is a band capable of making some of the best music of this generation is what I thought, and still think. Hailing from the ripe musical turf of New Jersey (influences as far-ranging as, duh, Bruce Springsteen to Frank Sinatra to The Bouncing Souls are evident here), Gaslight's songs are endemic of that tradition and indelibly American. And American Slang is a veritable melting pot of those influences, their punk rock roots (explored on their debut, Sink or Swim), and '50s-era rock 'n' roll (The '59 Sound). The result is a sound, a language, all their own, distilled by Brian Fallon, who barks, growls, and croons his blue-collar, punk-laureate lyrics over clean guitars and forceful rhythm and percussion. The production is perfect and the harmonies are tight -- not a note or beat is misplaced. After a few listens, it hit me that these aren't songs so much as they are anthems, wrought by guys that clearly just love making, and listening to, music.

"American Slang":

Hope you enjoyed the list. Let me know what you loved this year -- lord knows I missed more than a few great albums. Leave a list or a link in the comments. I'll follow this up with my favorite jams of the year in my next post. Until then (and I promise it'll be sooner than eight months...), ciao!