So much is about money today, we thought we'd throw the progressive towel in and let you know if these are worth the proletariat's greenbacks.

One Star
"Is there a return policy on the receipt?"

Two Stars
"Better not tell my spouse about this purchase."

Three Stars
"Well, it's more fun than spending money on food or gas."

Four Stars
"No buyer's regret here; this is definitely worth the money."

Five Stars
"I'd take out a second
   mortgage to buy it."
 

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Good News for People Who Love Bad News
Modest Mouse

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This catchy and intelligent album showcases the talents of Modest Mouse, and cements the oft-alternative group as a mainstream success. But don't worry, pop status coming as it is with this eighth album, the talented and seemingly well-read members are surely well stocked artistically, and fortified against the creative embargo that so often comes with Billboard status. It is hard to say what is more memorable about this album, the unusual song stylings and instrumentation, or the remarkable poetry: "Life it rents us and yeah I hope it put plenty on you," Isaac Brock sings in The View; "I'm just a box, just a box in a cage" the lyrical One Chance muses—challenging the attentive listener to question his own position in life and, perhaps, even society. Although after repeated listenings some of the less impressive songs encourage use of the "skip track" button on the CD player, most of this album is simply amazing. This joyful and disturbing album is one that you don't want to miss.
Contraband (Explicit Version)
Velvet Revolver

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The offspring of Guns n' Roses and Stone Temple Pilots, Velvet Revolver has exploded onto the hard rock scene with its debut release, and is definitely getting some attention. After all, an album like Contraband looks a little odd on the new release rack next to Ashlee Simpson, Usher, Avril Lavigne, or any of the various cookie-cutter hip hop artisits of 2004. But Velvet Revolver has proven, with this mature first release, that the kick-ass rock n roll we all thought belonged to yesterday actually has a place in the music of today. Hell, it might even make a comeback. Consider the staggering potential of the musical elements: singer Scott Weiland, of Stone Temple Pilots, and the ex-Guns n' Roses trio (guitarist Slash, bassist Duff McKagan and drummer Matt Sorum), along with second guitarist Dave Kushner. It is a guilty pleasure indeed, to hear Slash—considerably more sober these days, for better or for worse—melt out his guitar riffs once again, to hear the Appetite for Destruction-reminiscent basslines of Duff, and to tap into Matt's energy. Yet the album wouldn't hold the relevance it does if it were merely a flashback to the long-ago 80's. Contraband takes the best of that school of rock and throws it at the world of today, at the "Big Machine" the third track addresses. Energy from start to finish and talented musicianship make this an album to buy.
Kill Bill Volume 1 & Kill Bill Volume 2
Quentin Tarantino, Miramax Films, 2003/2004

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Kill Bill stands as one of the most effectively ambitious examples of creative filmmaking this side of the 20th century. Tarantino's quirky genius—more comfortable in its own skin and increasingly matured—takes viewers on a daunting, dizzying, and deadly journey. The unapologetic revenge flick is the bastard protégé of dozens of martial arts movies, spaghetti westerns, and cult films, spanning the twentieth century. Their influence can be felt from the opening credits to the final scenes, and is woven throughout the storyline. So much of what makes this a good movie has to do with the artistic touches Tarantino brings to the screen: utilizing the Japanese style of animation, or exploiting monochromatic filtering, are just two simple examples. Both films boast a rich production design which often explodes with visual interest. The editing, sound design, and directing all compliment a cast of devoted actors—most of whom spent months training full time for the demanding physical aspects of their roles. The film is certainly bloody at times, particularly in Volume 1, but the violence serves an important role in amplifying the mythology of Kill Bill. Audiences will be missing out if they can't see past that violence; the films' many merits certainly outweigh the not-so-occassional fountain sprays of blood. Not for the faint of heart, Kill Bill is an absolute must for those who consider themselves movie buffs, and it gets five stars here simply because of its unadulterated genius.
Bob Dylan Live: 1964
The Bootleg Series Volume 6

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A must for Dylan fans; an excellent buy for anyone who appreciates music or poetry. In 1964 a 23 year old Bob Dylan gave one of the most memorable performances of his prolific career. At the Philharmonic Hall in New York, Dylan performed for only the second time ever the then unreleased "Gates of Eden." Along with an excellent rendition of his battlecry of the sixties, "The Times They Are A-Changin'," this recording includes remarkable versions of "It's Alright, Ma (I'm Only Bleeding)," "Mr. Tambourine Man," and "With God on Our Side;" we meet an inexperienced Dylan forgetting his lyrics and mixing up his lines—even asking the audience for help in one comical instance—and we are simply overwhelmed by the exuberant and thoughtful spirit of the man and his music. Live 1964 includes three songs with accompaniment by Joan Biaz and is, amazingly, an even better volume of the Bob Dylan Live Bootleg Series than the previously released, Live 1975. This early Dylan performance is an excellent album.
House of Games
David Mamet, MGM Studios, 1987

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David Mamet's directorial debut manages to impress, even with less than perfect execution. The talented writer delivers an enjoyable story which handily makes up for the few awkward points of strained acting or poorly executed dialogue. At times this movie seems predictable, and yet throughout, Mamet manages to exploit that predictability and turn it upside down. When you watch this movie, you find yourself equally nonchalant and fascinated. Joe Mantegna does a good job as the cool con-man, and delivers a performance both more realistic and more comfortable than the protagonist, played by Mamet's then wife Lindsay Crouse. Although Crouse does manage to pull off several critical scenes well—particularly the last scene, which is one of the best in the movie. In House of Games, like in so much of Mamet's work, we really see the characters develop: they resist and flounder, but they grow. So many movies these days fail to achieve that simple, yet crucial, development of character. If you appreciate Mamet's work, or are in the mood for an unusual movie that will keep you entertained, this is definitely worth seeing.
House of Sand and Fog
Vadim Perelman, Dreamworks Pictures, 2003

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Based on Andre Dubus III's novel, House of Sand and Fog is more than disappointing. Starring the occasionally talented Ben Kingsley, partnered with Jennifer Connelly, this confused and uninteresting movie has no apparent redeeming qualities. Throughout the film the characters seem paper thin and unrealistic, and are made to follow a course of action dictated not by their own personalities (which are consequently unable to properly develop) but by the forced delivery of the mediocre story. These are caricatures, at best, not people about whom we might grow to care. The flat and inconsistent characters are at least consistent with the endless clichés which afront the viewer: The who-could-care-less illicit romance between the cop and the troubled, recovering alcoholic; The retired foreign army officer struggling against prejudice and determined to provide a better life for his family; The predictable and inaffective conclusion when protagonist and antagonist grow to a kind of mutual understanding. There is nothing here worth seeing, and the thoroughly pathetic movie version hardly encourages one to read the book.

photo courtesy of Telarc International 		Beethoven Piano Concerto No. 5; "Emperor"
Rudolf Serkin, Seiji Ozawa, Boston Symphonic Orchestra (1981 performance)

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Ask anyone and they'll tell you: I'm a Mozart man. When I got my hands on this performance of Beethoven's popular 5th piano concerto, however, I realized maybe there was room in my heart for someone other than the incomparable prodigy of classical music for whom I've held such affection. This version of Beethoven's Emperor Concerto is nothing short of profound. Originally recorded at the 1981 performance of pianist Rudolf Serkin and the Boston Symphonic Orchestra led by Seiji Ozawa, this performance has long stood as one of the most technically astute, and inarguably affective, of modern time. Audio Magazine even described this particular performance as "... purely and simply the best current version of this difficult work, and one of the finest ever performed in any period." Recently remastered and re-released by Telarc Digital, the new recording features state of the art Soundstream 2 Channel Recording technology. This means improved audio quality to match the extraordinary performance of a true masterpiece in classical music.
Star Trek: The Next Generation The Jean-Luc Picard Collection
Paramount, 2004

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For a Star Trek: The Next Generation (TNG) junkie like me, this sort of DVD collection is a rare and beautiful find indeed. For those who have appreciated TNG or even those who've found themselves curious about the follow up to the groundbreaking Star Trek of the sixties, this is a good buy as well. Containing seven episodes from the various seasons, the collection does a good job of showcasing the talents of the Shakespearean trained Patrick Stuart. Several of the episodes are among the best of the series: "Sarek," where we witness Picard struggling against the effects of his mind-meld with the Vulcan Ambassador and father to Spock; "The Drumhead," in which Picard must risk his career and reputation to derail an investigation turned witch-hunt on his own ship; "Darmok," another superb episode, during which Picard must communicate with a race whose language is based on cultural metaphors and mythology; "The Inner Light," one of the best TNG episodes according to TV Guide, follows Picard as he lives out an entire lifetime on a doomed planet, after coming under the control of a mysterious probe. Other less impressive but still enjoyable episodes include "Family," "The Big Goodbye," and "Tapestry." I would like to have seen "Chain of Command Parts 1 & 2" included instead of some of these less remarkable episodes, but all in all, this is a very good TNG collection. If you're a fan, don't let it pass you by!