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Archive for the ‘Music’ Category

Rain the Color of Blue with a Little Red in It

Tuesday, September 5th, 2017

(Akounak tedalat taha tazoughai)

I heard about this a couple years ago as “the Nigerian Nigerien remake of PURPLE RAIN.” And that’s a fairly accurate description, so obviously I had to see it eventually.

This is the first film made in a Tuareg language – Nigeriens mostly watch movies in Hausa – and apparently they don’t have a word for purple, hence the poetically clunky title. I’m sure they also have NOON THE COLOR OF BLUE WITH A LITTLE RED IN IT and THE COLOR THE COLOR OF BLUE WITH A LITTLE RED IN IT.

Guitarist Mdou Moctar stars as himself, a nomadic musician who arrives in the city of Agadez, Niger and starts up a rivalry with the local musicians. Like PURPLE RAIN, the movie aims to hype up an interesting musical scene, but the Sahara is pretty different from Minneapolis. There does seem to be some night life, but not really a club like the 1st Ave. Mostly these guys are competing for wedding gigs, and their songs become popular when people trade them on SIM cards for their cell phones. They keep handing each other phones to listen to songs on. A sort of in-person file-sharing system. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Remember the Time

Tuesday, August 29th, 2017

Today is Michael Jackson’s birthday. On this day in 2009 I wrote about Martin Scorsese’s “Bad” video, and in 2016 I wrote about John Landis’s “Black or White.” I like the idea of making it a tradition, so this year I’m taking a look at “Remember the Time,” directed by John Singleton (SHAFT [2000]) and produced by Reid Shane (production manager, BIG BAD MAMA II) of Propaganda Films.

“Remember the Time” was filmed in January of 1992 and simultaneously debuted at 8:25 pm February 2nd on MTV, BET and Fox, another major television event for MJ. It was the second single from the album Dangerous, so it was the followup to “Black or White.” I suspect it’s intentional that the 9-minute short film and/or video links to the last one through the use of cats. Remember, when last we saw Michael he had morphed into a panther and exited the soundstage. This video begins and ends with a cat, though not one that appears to represent Michael. Just a feline associate, I presume. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Graffiti Bridge

Friday, April 21st, 2017

Do you ever wonder what happened to The Kid (Prince, UNDER THE CHERRY MOON) after PURPLE RAIN? (SPOILERS FOR PURPLE RAIN.) His dad had hit his mom and shot himself. Wendy and Lisa had been mad at him for being a dick, and Apollonia had left him for being abusive and a dick. Club owner Billy had thought his music was too self-indulgent and wasn’t bringing ’em in anymore. But then he came out and performed “Purple Rain” for the first time and… I mean, it was “Purple Rain.”  It was beautiful and it was sort of an apology to everybody and they were all moved and blown away, even Morris Day. And The Kid seemed to make up with Apollonia and his dad was still alive in the hospital and did everything turn out okay for everybody, is what I’m asking?

Well, as far as what happened with Apollonia and The Revolution and some of the other stuff, you’re gonna have to go to the Expanded Universe novels I guess. But to see where The Kid was at in 1990 you gotta watch the last feature film Prince ever made (this time as writer/director/composer/star), GRAFFITI BRIDGE. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Josie and the Pussycats

Wednesday, March 8th, 2017

Before Riverdale, before the Marvel Cinematic Universe, before Christopher Nolan Batman, before 9-11 even, there was a different type of comic book movie: JOSIE AND THE PUSSYCATS. Inspired by the Archie comic book and Hanna-Barbera cartoon, writer/directors Harry Elfont & Deborah Kaplan told a goofy version of the little-rock-‘n-roll-band-tested-by-overnight-superstardom story.

Actually maybe we should forget about comics and consider this timeline: it was a year before American Idol started. The Spice Girls had packed it up the year before. NSYNC and Backstreet Boys were still popular. The movie seems to offer the Pussycats as a refreshing alternative for teenage girls to obsess over instead of boy bands, but it should be noted that Destiny’s Child, Alicia Keys, Jennifer Lopez, Janet Jackson, Brandy, Madonna, Mary J. Blige, Pink, and Aaliyah (plus Britney Spears and Jessica Simpson) all had hits that year. But I guess the Pussycats do stand out by playing instruments. Their songs are kind of sassy pop punk, not good in my opinion but not as intolerable as some in-movie music. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

‘Round Midnight

Monday, February 27th, 2017

I got the distinct feeling you guys were bored to death when I did a mini-jazz series after LA LA LAND came out (reviewing MO’ BETTER BLUES and THELONIOUS MONK: STRAIGHT NO CHASER). You know, you follow your muse, and sometimes your muse is heading out north when the zeitgeist already got on a plane going south two days ago. But I’m glad I went on that kick if only because it inspired me to finally watch ‘ROUND MIDNIGHT (1986), French director Bertrand Tavernier’s beautiful tribute to the scene of American bebop players transplanted to Paris circa 1959. Real life saxophone legend Dexter Gordon plays fictional saxophone legend Dale Turner as he tries to recapture inspiration and meaning during a stretch of depression near the end of his life.

With his froggy voice, tired eyes and odd sense of humor, sixty-something-year-old Gordon’s is a non-actor performance so compelling he was nominated for the best actor Oscar. Of course he also plays live music all throughout, so Ryan Gosling wouldn’t have been as good in the role.

(The Oscar went to Paul Newman for THE COLOR OF MONEY. Herbie Hancock did win one for ‘ROUND MIDNIGHT’s score, taking out James Horner’s ALIENS and Ennio Morricone’s THE MISSION.) (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Traitors

Thursday, February 2nd, 2017

tn_traitorsTRAITORS is the story of Malika (Chaimae Ben Acha), a young Moroccan woman who fronts an all-female punk band called Traitors (no ‘The’). In the opening scene we see her looking like Joan Jett as they practice their song “I’m So Bored With Morocco.” Like any other nationality’s punk music she’s complaining about asshole cops beating and murdering people, the empty promises of politicians, living in poverty while part of the country is rich. But also roadblocks, having your papers checked, a General’s son getting away with running over a farmer.

We see that at least some of this comes from their daily life. Stopped at a roadblock, they get scared, but clearly they’ve been through this before. They know how to give the cop a bribe. Or more like a tax.

Despite this oppressive society they’re very creative people. They drive around in a van projecting footage of themselves onto things and filming that. She edits the footage on her laptop as they go. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Thelonious Monk: Straight, No Chaser

Thursday, January 5th, 2017

Something about this gloomy post-election mood has got me digging out my jazz CDs and records. Actually, it started with the handful of blues albums I own, which makes perfect sense, you can see how Orange Dawn (as I’ve decided to call our new age) would make me feel like listening to “Hell Hound On My Trail.” After that I went to Nuclear War by Sun Ra. Obvious through line there as well. But eventually I moved on to one of the Thelonious Monk albums I’ve latched onto over the years, Underground.

Check out the cover, with Monk hunkered down in a… barn? Bunker? Basement? with a rifle, some grenades, and a tied-up Nazi, makes it seem rebellious. He’s supposed to be part of the French Resistance, it seems. He looks like a jazz guerrilla committing musical sedition.

In general, though, the jazz I like feels more spiritual. It’s a mix of repetitive rhythms and unpredictable melody, spinning around, building momentum, plowing along until it explodes or stops and quietly steps away. Usually there are no words, no subjects. Just moods. Colors. So it’s like a meditation, a prayer in tongues.

All this meditating and praying and then the act of trying to put my love of piano into words to write about LA LA LAND inspired me to pull out the ol’ THELONIOUS MONK: STRAIGHT NO CHASER dvd. This is a beautiful, sad documentary about my favorite pianist. It’s produced by Clint Eastwood and Malpaso, who put up the money to finish the movie when nobody else would. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Mo’ Better Blues

Wednesday, January 4th, 2017

After DO THE RIGHT THING made Spike Lee into a major cultural force, he set his sights on a few subjects he thought were important. Before he made his MALCOLM X movie with Denzel, and before he didn’t make his Jackie Robinson movie with Denzel, he tackled a broader topic: a jazz movie with Denzel.

It was a subject near and dear to Lee’s heart. His father Bill Lee was a jazz bassist and composer for his first four films (this being the last), and he’d befriended Branford Marsalis on DO THE RIGHT THING, so The Branford Marsalis Quartet (plus Terence Blanchard on trumpet) plays the music here. I seem to remember Lee being publicly hostile toward Bertrand Tavernier’s ROUND MIDNIGHT and Clint Eastwood’s BIRD for focusing too much on drug addiction, a complaint possibly aggravated by his annoyance at reporters asking him why DO THE RIGHT THING didn’t deal with drug addiction.

Can you imagine? “Wes Anderson, don’t you have a responsibility to your community to show that rich people use coke?” “Makers of SWEET HOME ALABAMA, where is the meth?” Fuck you. Just for the sake of my blood pressure I’m gonna assume every reporter who asked that has since sent Spike flowers and a card with a long, heartfelt, handwritten letter of apology.

Surprisingly, Lee’s jazz movie just replaces heroin with other vices. Washington’s quintet-leading trumpeter Bleek Gilliam is some kind of womanizer who tries to have two girlfriends at the same time, med student Indigo Downes (Joie Lee) and aspiring singer Clarke Betancourt (Cynda Williams in her first role). His childhood friend/terrible manager Giant (Spike himself) has a dangerous addiction to sports gambling and is in debt to his bookie (Ruben Blades, SECUESTRO EXPRESS, COLOR OF NIGHT). But these troubles are kind of woven into a casual and down to earth story about Bleek’s fairly minor struggles doing shows at the Beneath the Underdog jazz club, during a slow-brewing musical and love rivalry with his saxophone player Shadow Henderson (Wesley God Damn Snipes, BLADE). (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Under the Cherry Moon

Thursday, December 22nd, 2016

Remember in the ’60s when Prince starred in that French romantic comedy? Well, I guess that didn’t happen per se, but it’s kind of what his 1986 directorial debut UNDER THE CHERRY MOON feels like. It’s not really a period piece, but it’s filmed in gorgeous black and white (grain perfectly preserved on the excellent new Blu-Ray transfer), has a goofy old fashioned tone and doesn’t have many contemporary styles or references outside of the amazing soundtrack by Prince and the Revolution. The many songs we know as the album Parade (biggest hit: “Kiss”), but there’s also plenty of great instrumental music in there that’s sadly not on the soundtrack.

Prince plays Christopher Tracy, a slick gigolo type from Miami, currently on the Riviera living off of rich French women who he seduces during his job as pianist at a restaurant. He has it down to a science. Best friend/roommate/possibly brother Tricky (Jerome Benton from The Time) is a very effeminate fellow pussyhound who is in awe of Christopher’s skills as he lays in the bath tub improvising love poems over the phone. He’s designed to deliver a certain type of pleasure to a certain type of woman, and it helps that he looks like Prince.

The romcom formula kicks into gear when these love vultures learn of a party for the 21st birthday of the heiress Mary Sharon (Kristin Scott Thomas, ONLY GOD FORGIVES, in her first role), when she will inherit $50 million. They crash the party with plans for Chris to figure out how to marry her. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Michael Jackson’s “Black or White”

Monday, August 29th, 2016

tn_borwHappy Michael Jackson’s birthday, everybody! What did you get me? I got you this thorough illustrated analysis of the “Black or White” video from the album Dangerous!

The “Black or White” music video is the sort of weird, messy, well-meaning, overreaching, and fun piece of mainstream art that only the lightning rod known as Michael Jackson could’ve attracted. It was directed by John Landis (who had already done “Thriller,” of course) and shot by Mac Ahlberg (TRANCERS, GHOULIES, RE-ANIMATOR, FROM BEYOND, STRIKING DISTANCE). Like “Thriller” it was a short film (11 minutes in its longest version), and its first broadcast (November 14th, 1991 simultaneously on MTV, VH1, BET and Fox) was a heavily hyped event. It was a Thursday night, playing right after The Simpsons on Fox (specifically, the soapbox derby episode “Saturdays of Thunder”), and receiving that network’s highest ever ratings at that time.

It had celebrity cameos (including The Simpsons), groundbreaking special effects, meta elements, and (still puzzling to this day) controversy that caused (or was the excuse for) the best part to be removed for subsequent broadcasts. While Michael sang and danced and visually symbolized in earnest about the lack of racial barriers in eligibility to be his “baby” or his “brother,” it became common to joke about not being able to tell if he was black or white due to his vitiligo-lightened skin. Most of the world could accept that “it don’t matter if you’re black or white” in theory, but that was not gonna stop them from making judgments about Michael’s racial identity.

Like the feature length MOONWALKER, this mini-movie is a jumbled mix-tape of stylistically clashing segments. For convenience I will break it down into four main sections. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.