The Modern Beat

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One Click Waiting on WCWP Tonight

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Horrible Bosses 2: Jason Bateman, Charlie Day, & Jason Sudeikis

To promote the film "Horrible Bosses 2", Warner Brothers had a conference call on November 10th with universities around the nation to talk to actors Jason Bateman, Charlie Day and Jason Sudeikis. Warner Brothers press allowed students to ask questions one at a time. Horrible Bosses, released in 2011, was a critical success, with solid ratings and a great income, leading Warner Brothers to do a sequel. This has led many to be skeptical about how good the new one will be and if it's worth any attention at all. "I think they'll really like it," said Day. "People will be skeptical, but I think they'll like it. If a studio makes money, they want to make a sequel. It's a business. We had a lot of conversations about what it could be. Creatively, we took it to a place it could have made sense." "I genuinely liked it more than the first. I'm feeling good. It's every bit as funny as the first," added Bateman. The actor added that all of the material in this sequel is new. "We had a good time trying to make people laugh. We didn't want to repeat ourselves," Sudeikis said. "Horrible Bosses 2" sees Nick (Bateman), Dale (Day), and Kurt (Sudeikis) going into business for themselves, which steers away from the idea of the trio having to kill their horrible bosses in the first installment. Now, it's their turn to be the horrible boss. After a faulty deal with a entrepreneur and his father, the trio are without legal representation and in great amounts of debt. They kidnap the entrepreneur and attempt to use the ransom money to pay off their debt. While the immediate thought of this plot is a sitcom version of Fargo, in terms of a comical kidnapping gone wrong, director/cowriter Sean Anders and cowriter John Morris were the creative duo to help create a different, more appropriate style. Sudeikis was extremely happy with the work of Anders and Morris. "They're two of the best comedy writers. They did a great job with 'We're the Millers'. They did a great job, especially with this whole part in the middle that feels like Fincher's Fight Club or [a part of a] Soderbergh [film]." Bold words for a comedy, but Day assured it was stylistic when it needed to be and made sense. Throughout the short phone call, the three Muskateers joked around and had a good time, evening mentioning their Fourth Muskateer, Ringo Starr, who brought new style and won't be making an appearance in the film. There jokes and laughter really kept the conversation witty and quick-paced. "It's great to work with such people," concluded Day. "It's great people wanted to be in the sequel after seeing and hearing about the first. I'm so, so grateful." "Horrible Bosses 2" will be released on November 26th and will be in theaters nation wide. "We hope you enjoy it. It's a fun film," said Sudeikis.

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A to Z (S1E6): "'F' is for Fight, Fight, Fight!" (2014)

A to Z’s first episode since the beginning of the #SaveAtoZ on Twitter showed a slight increase in ratings, but not one significant enough to keep this show running.

“F is for Fight, Fight, Fight!” is a quirky, fun episode written by Donald Diego following Andrew and Zelda, as Andrew feels uncomfortable, believing he can’t stand-up for Zelda when she needs him.

While it isn’t as good as “D is for Debbie” or “E is for Ectoplasm”, this episode is extremely fun, loving, and funny. Diego and director, Davin Wain, do a really great job showing problems as trivial as this and how it really affects a relationship.

As always, the cast is superb. The stand-outs are Henry Zebowski as Stu and Christina Kirk as Lydia, who are both laugh-out-loud funny, and one hundred percent relatable.

I beg everyone to take part in #SaveAtoZ. Television has not had such an honest sitcom since Go On. While the ratings haven’t been what they were for the pilot episode, it is important for such an amazing show to get closure. We want Z. Keep this show running, please. It’s relatable, funny, sweet, fun, adorable, and absolutely one hundred percent enjoyable. Please, please watch it. F is for Fight, Fight, Fight for this show.

A to Z is on NBC, Thursdays at 9:30PM.

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Birdman or (The Unexpected Virtue of Ignorance) [2014]

Birdman or (The Unexpected Virtue of Ignorance is the fifth film by Alejandro González Iñárritu. It follows Riggan Thomson (played by Michael Keaton) as he begins preview for a Broadway play he wrote, directed, produced, and is starring in. This is all an attempt to find him back in the limelight, being a washed-up actor who can’t seem to find the same success as he did with his old trilogy of superhero movies, Birdman.

Birdman is something new, special, and most certainly refreshing. The structure feels like it has been done before, but due to the cinematography (which is edited to make it look like the film is one long shot) it feels exciting.

Birdman is more than just a two hour art-film, it is powerful. It criticizes the form of Hollywood and many actors today, but yet, it is also important to show what they must do to be who they are. Michael Keaton is more than phenomenal in this role. His delivery is fantastic, his performance is magnetizing, and he is certainly not a force to be reckoned with.

While Keaton steals the show, Emma Stone, Edward Norton, Zach Galifianakis, and Naomi Watts complete such a great ensemble. Each performance is strong. Norton might see a nomination for best supporting actor.

It’s important to highlight just how important every piece to this film is. The music is compiled of almost entirely all drums, scored by Antonio Sanchez. The drums pound like the voice in Thomson’s head, just beating away like a pounding migraine decaying a skull. This also fits in with the timing and blocking of the film.

Director of photography, Emmanuel Lubezki, and editors, Douglas Crise and Stephen Mirrione, put together a film that flows almost crazily, as it all feels like it was done in one shot. The timing of the film works so that they can tell the story fluidly and place the actors in all the right places. It is almost uncomfortable how they do it, but this is no complaint. They also place Antonio Sanchez throughout the shots and the music, still pulsating, shares in this beautiful masterpiece.

There is no true way to describe Birdman. It is more than what one can make it out to be. It's extremely funny, moving, sad, and powerful. It deserves awards for cinematography, directing, editing, music, and acting, which Riggan Thomson will be happy to hear.

This movie is something special; but of course, that means nothing to some of the characters in the movie. So, maybe this review is voided. Either way, go see it now.

Rating: A

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A to Z (S1E4): "'D' is for Debbie" (2014)

Due to the loose household that Zelda grew up in, after her parents’ divorce, her mother would leave for weeks, leaving Zelda with Debbie, a close friend of the mother, who became family to Zelda. Aunt Debbie raised and loved Zelda, treating her like her own. Recently, Debbie has died and she tells Andrew, who really feels he should attend the funeral, but doesn’t know if they’ve been dating too short of a time. Zelda, who wants to avoid Andrew meeting her eccentric family, doesn’t want to invite him (which goes haywire when Andrew shows up to support her).

This episode, penned by Laura Gutin Peterson, is certainly no Death at a Funeral, but then again nothing is (and I’m talking about the 2007 film, not the American yawn of a remake). However, it is still quite funny. While you may not be hysterically cackling at every moment, it feels Peterson doesn’t want that to happen. Peterson creates this wacky, cartoony, hippie family and puts them in the position of a tragic death. This may seem like an act, but it comes off more human for the audience and the characters.

While I have praised the cast and writing for the past three weeks, this episode has stolen the show. Cristin Milioti and Ben Feldman are perfect as Zelda and Andrew, who are my favourite couple by the way. Even their respective sidekicks, Stephie (Lenora Crichlow) and Stu (Henry Zebrowski) are still loveable.

However, I don’t want to tire out every single one of my reviews with the cast, although they most certainly deserve it and I most certainly will praise them every time. It’s the writer’s room that still wins me over. As a student going for screenwriting, it’s important to find those special shows that have excellent writing time and time again. NBC seems to be pushing this out with The Blacklist, Go On [:(], Hannibal, and now the quite brilliant A to Z.

Peterson, who has penned an incredible episode, with great jokes, great character development, and the loveliest romantic writing, is joined by a troupe of so far excellent writers headed by Ben Queen (who I thank for this show). I want to see what they have left.

I will say although I have praised this show again, I am scared. It’s only four episodes in. Romantic comedies come and go, but not everyone stays gold. I’m hoping this joins Annie Hall, Manhattan, and Submarine in the golden area of our hearts.

The only negative aspect to this episode was the fact that I had to wait until the day after to watch the episode. You can come into our country, Ebola, but don’t you dare go after great television.

Rating: 10/10

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A to Z (S1E3): "'C' is for Curiouser and Curiouser" (2014)

A to Z brings Bill Callahan back to NBC after his work with Scrubs years ago; and boy, is it good to have him back.

"C is for Curiouser and Curiouser" is the story of Andrew and Zelda now diving into the secret lives of one another, with a little help from the internet (damn modern dating). This starts off with Zelda finding an arrest video of Andrew from years back, which he never told her about. After lashing out, they both start looking each other up, with Andrew finding nothing and Zelda becoming extremely cynical. Although Zelda has a secret marriage and divorce that sort of shakes up Andrew’s view of marriage. This results in an understanding between the couple, with Zelda understanding his strong views of the importance of marriage and becoming less cynical.

Each episode is not specifically about the episode, but more about the character arc for the entire series. The direction with their lives and how their relationship plays out feels so loving and realistic. Even filled with some romantic-comedy clichés, it feels right and warms the audiences’ heart.

Callahan’s script flows well, showing his screenwriting ability has not decreased since the incredible Scrubs. His precision with jokes blends in with his speedy story-telling, light-hearted romantic-ness, and cynicism and bitterness about love and marriage. I certainly hope to see him return to pen more episodes of this fabulous show.

The writing and the directing, while great, do not make this show what it truly is. It’s the acting. Not only are both Ben Feldman and Cristin Milioti the perfect on-screen duo, but so are their co-stars and on-screen best friends, Henry Zebrowski (Stu) and Lenore Crichlow (Stephie), who three episodes in are enriching the show and the characters.

A to Z is seriously a must watch. I repeat this over and over again, watch this now.

Seriously, it’s that good.

Rating: 10/10

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A to Z (S1E2): "'B' is for Big Glory" (2014)

NBC has the best new show of the season.

A to Z’s second episode takes off from the end of the pilot, with Andrew (Ben Feldman) and Zelda (Cristin Milioti) in a loose-ish relationship, which already begins to hit a bumpy road when Andrew remembers he made a date with a coworker before he met Zelda.

The awkward situation gives great room for Stu (played by Henry Zebrowski) and Stephie (played by Lenora Crichlow) to shine in comedic, fun positions.

This show is truly not perfect; it’s filled with clichés. However, it feels perfect for what it is. It’s fun, funny, absolutely adorable, and just an enjoyable watch.

Milioti and Feldman seem to be having a ball playing their characters and that is the best thing to see. Actors should never seem bored, unless the character is bored or boring. However, Ben Queen (creator) has done a great job making them lively, relatable, and fun.

The comparisons to How I Met Your Mother do grow in this episode, with the jealousy-games being played relate to something out the Bro Code, or Zelda and Andrew’s destiny feeling like Ted and the Mother (or unfortunately, more precisely, Ted and Robin). However, it’s still in early stages and needs time to grow. By the looks of it now, it will grow.

This is the best new sitcom since Go On, which NBC prematurely cancelled. Due to A to Z, I forgive NBC for that mistake.

Watch this show. Now.

Rating: 10/10

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Julian Casablancas + The Voidz: Tyranny (2014)

Julian Casablancas takes a detour from The Strokes to create a beautifully scattered piece of art.

The front-man of The Strokes has taken a bit of a break again from the everlasting band to work on an album with his new band The Voidz. This has resulted in Tyranny, released on September 23rd, on Cult Records (Casablancas’ record label).

Casablancas has always been a chameleon when it comes to his music. Starting the Garage-Rock Revival scene in 2001, there was nothing left but to experiment, and that he did.

Tyranny is a mixture of hard-rock, jazz, punk, world music, new wave, and electronic music. Although those ingredients seem like a recipe for disaster, it’s baked into a beautiful album that takes dozens of listens to break down. The complex tracks echo through your skull until you fully understand them, and even then, there may be more to each song.

The debut album was preceded by the release of “Human Sadness”, an eleven minute epic, with roaring bass, polyrhythmic drums, and a falsetto so tremendous, it brings back memories of Freddie Mercury and Queen.

Although it isn’t as accessible to mainstream media as Arctic Monkeys’ massive AM record, it does share a similar aspect, in that it can be enjoyed by the most diverse group of people. If you love punk rock, there’s something for you. If you’re living to the beat of 80’s new wave still, this is an album for you. Multi-instrumentalist, Casablancas, has outdone himself this time (which is an incredible success, as he has released five albums with The Strokes and one solo album).

The album gives you a breath of a fresh air the moment the opener, “Take Me in Your Army”, starts. After that, it’s intriguing and compelling. The second side of the album, tracks 7-11, is nothing short of perfection, especially track ten, “Dare to Care”, which feels like three or four songs in one.

“Off to War…” closes this tremendous album and with noises that sound like they come from the Industrial Revolution of the 1800’s, more is not needed, but more is wanted.

In a recent interview, Casablancas said, “this album isn’t for everyone, it’s for nobody”. This rings true to the haunting sounds of this crazy album that sounds like was played through a super Nintendo (maybe the idea with a track being called “Nintendo Blood”).

Get this album now. There is no stopping Julian Casablancas.

Rating: 10/10

Key Tracks: “Human Sadness”, “Johan Von Bronx”, “Xerox”, and “Dare I Care”.

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Magic in the Moonlight (2014)

Taking on France once more, Allen finds himself with a fun film, but certainly not his most spectacular of recent years.

Magic in the Moonlight is the story of a magician (played by Colin Firth) who is hired to debunk a mystic who seems to be the real deal (played by Emma Stone). Firth’s mission to prove the mystic a fraud creates a love story that deals with trust, belief in the spiritual world, and religious doings.

Writing wise, it is certainly not his best, but it’s most certainly not his worst. The ending seems rushed, but it doesn’t get stuck in a trap such as Midnight in Paris. There are some scenes that highlight Allen’s writing, such as when Firth is unsure about God, but begins to pray.

The film shows France with utmost beauty without feeling too tourist-y, something that Midnight in Paris certainly did (although not terribly).

The film’s greatest aspect is certainly its actors. Firth gives a wonderful performance. With strength and belief, he delivers a great work. Stone is very quirky, and while her performance isn’t as strong as Firths, she is quite lovable (as always).

Woody Allen is such an interesting director, as he pushes out one movie a year, whether it’s incredible, or not so great. With Magic in the Moonlight, he pushed out a fun and enjoyable piece for his later years. Rating: B

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A to Z (S1E1): "'A' is for Acquaintances" (2014)

A to Z is the upcoming romantic-comedy created by Ben Queen. It follows the relationship of Zelda Vasco (Cristin Milioti) and Andrew Lofland (Ben Feldman) from the start to the end.

Immediately, the pilot tells the audience that this is just a stepping stone in the lives of Zelda and Andrew, with Katey Sagal (as the narrator) saying it lasts only a little over eight months. This takes nothing away from the story or the characters. Both Andrew and Zelda are great onscreen presences, and their chemistry is quite charming, with the quirkiness and oddly-romantic power Alvy Singer and Annie Hall had in the Woody Allen classic.

Ben Queen's script for the pilot might bring him into a new light. Pilots are usually unfunny and tiring, but this episode is loving, fun, and enjoyable. I didn't want this to end. Following Drive and Cars 2, Queen is building his way up.

Feldman and Milioti are the perfect couple. The audience can relate to them in some way. They're awkward, fun, cute, and more wonderful adjectives. Milioti is especially a stand-out. Going back to the 200th episode of How I Met Your Mother ("How Your Mother Met Me"), Milioti proved herself to be incredible for television. The pilot shows she has much more to give and that wasn't her high point. For lack of a better word, she's simply brilliant.

Of course, it's only the pilot, so it is hard to say exactly where this show will go, but from the pilot alone, it seems like it'll be excellent. The cliche rom-com cinematography (ie. spinning during the kiss) is forgiven, as it benefits the show tremendously.

A to Z seems to be the modern answer to Annie Hall or more of a romantic twist to Richard Ayoade's film, Submarine. I do not say this lightly. This is a must watch.

Rating: 10/10

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Wish I Was Here (2014)

Ten years after Garden State, Zach Braff takes on his second film, Wish I Was Here, a story of a struggling actor, whose dream is pushed aside when everything in his life turns negative.

Wish I Was Here isn't truly new territory for Braff, with it having the same style as Garden State, and every once in a while, being reminiscint of Scrubs. Wish I Was Here does show a slowly maturing Braff in later years that only promise better however.

The film relies heavily on music and narration, and while this may seem cheesy or a cheap way to progress the story, it doesn't take away from a beautiful coming of age story that has been writtten. It is emotional, sweet, and in a way, frightening, as it is such a great portrayal of later years in life.

The acting is simply wonderful. While I don't expect to see any one from the film nominated for any awards, it doesn't take away from the incredible chemistry of the cast. Zach Braff has proven to be a lovely actor, with this, Garden State, and his current role in Woody Allen's musical adaption of Bullets Over Broadway (which is a must-see, by the way).

Josh Gad is an actor the world needs to focus on more. Not only did he lend his voice to the lovely Olaf in Disney's Frozen, but he is just one hell of an actor. In Jobs, he was the best actor, hands down. In this, his role, although not as long as Braff's, is heartfelt, and simply powerful. Like Andrew Scott in Sherlock, he doesn't need screen time to show what he is able to do. He's certainly going to become an even more celebrated actor than he is now in the future, and it is well deserved.

While some parts of the film may be forced, it's a wonderful coming of age story, and feels to be this years The Secret Life of Walter Mitty (2013).

It should be noted, while the music may feel cheesy or cheap, the soundtrack is A+.

Rating: B

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Jersey Boys (2014)

Clint Eastwood's latest film Jersey Boys fails to be the fun and interesting story that it could have been.

The Jersey Boys lacked a lot of what many artists and bands at the time had. They seemed so clean cut, but their roots in New Jersey show otherwise (robbery and breaking and entering had the band in and out of jail often, minus the clean-cut frontman, Frankie Valli).

Sure this seems like a great story to tell for such a prolific and beloved group, but the transition from stage to film did not go over well. While the film is redeemed during the musical performances and specific scenes (when they discover their sound for example), the script is too bulky, and the Annie Hall-type Freudian dialogue doesn't progress the film at all. This might have worked once for Marshall Brickman, but it no longer seems to have its charm.

The performances were very lovely, especially Christopher Walken, but it was nothing really too stand out. While they sure looked and sounded the part, nothing stood out. Nothing was showstopping. Once again, the performances were great though.

As a musical, Jersey Boys was extremely fun, interesting, and a great portrayal of the great American band. As a movie, it's overly-long, bulky, and it misses the brilliance of a biographical film such as Walk the Line.

Certainly not Eastwood's best, but not a terrible move. It has its moments, and die hard fans of Valli and the Seasons will enjoy its high points.

Rating: C-

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"Blended" Review

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Albert Hammond Jr./Drowners @ Music Hall of Williamsburg (6/13/2014)

Concerts have a habit of building themselves up all on hype. Arctic Monkeys are a band that told us not to believe the hype, but fast forward almost ten years later, they are easily one of the best live acts out there.

Albert Hammond Jr. finds himself in a sea of hype as well, especially as The Strokes are making a fairly large comeback, as well as a new EP out in stores. On top of that, Drowners are receiving a tremendous amount of hype right now for their debut album, which is a mix of The Strokes and The Smiths. How do two acts prove to a crowd that the hype is worth it? Hammond Jr. and Drowners stormed the theatre with energy, proving there is a reason for the hype.

Kicking the night off, Drowners played through their entire debut album with such ease. Seeming to enjoy every moment out there, they resonated with the audience. As a fan, I knew I would enjoy it, but plenty of people in the crowd told me they didn’t know who they were. Those people seemed to be walking out with either their vinyl or CD. What gives Drowners such a unique taste is Matt Hitt (yes, the model). His quick and catchy songs are a formula for success. If you haven’t had the chance to see them, it’s a must-see. It’s English (or Welsh) music, growing up in New York City.

After they quickly got off stage (although their bassist Erik Lee Snyder seemed eager to talk to fans), there was a bit of a waiting period as stage hands prepared for Albert Hammond Jr. As someone who isn’t too familiar with his entire catalog, I wasn’t expecting myself to get a huge kick out of his set as I did Drowners. Slowly but surely, his famous white Strat came on stage with the chips and marks from thirteen years of touring with The Strokes. It was time to see someone who has made history.

He and his band came on stage with such a genuine happiness and gratefulness that it could cheer the saddest of men up. AHJ, who has a fairly large catalog of music to play, rocked through his set. The last time I have seen this much energy was when Arctic Monkeys played MSG. There wasn’t an inch of space on that stage the band missed. He held on to the audience, even with lesser-known songs. It seemed that the night was just an entire moment of energy and fun. Alas, the night had to end, as he closed with “It’s Hard to Live in the City” off his debut album. It felt like a classic the way everyone in the crowd belted the lyrics back at the singer/guitarist.

To be fair, for me, the day didn’t start at the concert. I had been outside for five hours before doors opened, with the goal of getting a good spot and meeting Matt Hitt from Drowners. Mission accomplished. Although I didn’t speak to him too much, it was great for him to take the time out to say a few words to me. Along with that, I met Fabrizio from The Strokes, who just seemed so happy to be supporting Albert. Then, on top of that, I met Albert Hammond Jr. and helped him carry his amplifier in. AHJ was super happy to be there and was nothing but a great guy. It’s always such a pleasure when a talented musician is also a great person. So, while the concert may not have been for everyone, it was something worth seeing. The start to my day only made it better. It didn’t even matter there were flash-flood warnings everywhere.

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Jack White: Lazaretto (2014)

Ambitious, scattered, fun, powerful, and indulgent, Lazaretto shows Jack White at a new high.

White’s ability to create an album is sometimes overlooked, especially when one looks at his solo debut, Blunderbuss. His method isn’t just laying track on top of track on top of track. It’s keep fixing until it’s right. White’s style is more perfectionist than drown it all out (which was unfortunately seen on Turn Blue earlier this year).

With the angst of The White Stripes, the delivery of Arctic Monkeys, the story-telling of Son House and Blind Willie McTell, and the shape-shifting, chameleon like power of Jack White, Mr. White creates an album that can go from neo-psychedelic garage rock to Folk and Americana in three minutes. This adds to the power of the album, with anticipation growing more and more.

“High Ball Stepper”, an awesome instrumental, proves the album doesn’t need any lyrics to convey the mood. It rips through a bluesy melody with ease. Along with songs such as “Just One Drink” and the title track, White proves he has so much left in his system. His heart-felt songs, while not holding the same ear-gripping prowess as the energetic side, also give an endearing sound to the album, with “Entitlement” being a key-track.

When an album gives the audience a hard time choosing a favourite track because they’re all so great, it has done its job. White’s first album gave a few good songs, while the rest just felt over-done and tiresome. Not only has he corrected his ways, he’s done it with such ease once again. Anything he has ever done can be traced onto the album, which gives fans something to look forward to, but there’s a twist of something new for those fans and anyone else.

With so much angst and power, White has delivered a fantastic album, one worthy of multiple listens in a row. With the beef between The Black Keys and Jack White still being relevant, it seems unfair to compare them, as I had done above, but Lazaretto lacks what Turn Blue had written all over it, disappointment.

Rating: 9/10

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"The Double" review

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The Double (2014)

The Double is Richard Ayoade’s sophomore film, following the brilliantly done Submarine. Once again, adapting a story from a novel, this time Fyodor Dostoevsky’s Notes from the Underground, Ayoade showcases his skills as a director.

Influences like Terry Gilliam, Steven Soderbergh, and directors of the German Expressionist era are evident as Ayoade tells the comedic, yet dark tale of Simon James (played by Jesse Eisenberg), an introverted, shy, and unlucky man whose life is flipped upside down with the arrival of his new coworker, James Simon (also played by Eisenberg), who is the exact opposite of him, charismatic, charming, and confident. The Double jumps right into the action; effectively using Eisenberg is the dueling roles. His witty performance is incredible and never falls flat at any minute.

Ayoade shows what an incredible talent he has, with an incredible rhythm to his films. It has the speed of a 1930s screwball comedy, but the charisma, the wit, and the story of something much deeper. The lighting and the sound give the film a 1920s German-vibe or a David Lynch edge to it. Ayoade also uses the same set of actors as Submarine, which is a delight as they are completely different characters and completely refreshing.

The 93-minute story is exciting, fresh, and filled with great actors (with a knock-out performance by Eisenberg and Mia Wasikowska), a fair share of comedy and drama, and an interesting plot. Ayoade proves he is certainly a director to look out for.

While The Double most likely won’t be a contender for any Oscars, it is certainly deserving of one or multiple for editing, sound editing and mixing, as well as nomination for score.

The Double is a must-see film of 2014.

Rating: A