Given the choice these days, I often download individual songs on iTunes rather than purchasing entire CDs because most of the time there are only a few tracks I like per album (yes, I said album; I’m oldschool on occasion). But every once in a while I am compelled to purchase actual CDs, and here are two I can’t wait to buy:

THE LAST KISS Soundtrack
Anyone who knows me or reads this Blog is keenly aware of my feelings for all things Zach Braff, and this one looks and sounds like my beloved Garden State.

BACK TO BASICS – Christina Aguilera
“Ain’t No Other Man” is easily my favorite song of the year.

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Let’s pretend for a moment that I had clout. Not fame or prestige, but just the right amount of influence and a few thousand blog subscribers (as opposed to the four I have now). Let’s also imagine that I had connections, in either the media or the music industry.

 

I would love to be Zach Braff for one afternoon in a recording studio, compiling a soundtrack for one of my movies that consists primarily of music by my friends who happen to be very talented but lesser known artists. Or director Paul Thomas Anderson, who opted to use his friend Aimee Mann’s songs as a beautiful accompaniment to the narrative throughout his entire movie (Magnolia).

 

If I had an ounce of the power like those in the industry above, I would totally promote the hell out of my extremely creative and talented friend Matt Nathanson, who has been writing and performing music for 15 years. He writes all of his songs, has a huge fan base (eighteen thousand MySpace friends to date!), is disgustingly charismatic, and has remained true to who he is and those around him every step of the way. It is both outrageous and frustrating that he has not achieved the kind of artistic success that other creatively inferior male pop artists are currently wallowing in and cluttering our airwaves with.

 

Go to his website and read his hilarious journal or visit his MySpace page. You must see him live to truly appreciate the personality and the man behind the music (for a taste of what I’m talking about, pick up his latest live album, At the Point, in stores, on iTunes and Amazon). He is not your prototypical rock star; he doesn’t drink or smoke. His only vices are a potty mouth and dirty mind, which you’d think would influence his music. On the contrary, his songs comprise some of the most beautiful, intelligent, and surprisingly sweet lyrics you’ll hear, especially among his contemporaries in the oversaturated male singer-songwriter market.

 

Matt just finished a summer tour opening for Pink, has opened for both Tori Amos and Shawn Colvin, and is about to tour with Toad the Wet Sprocket. He will also be playing Austin City Limits next month, and his new CD should be dropping next year. I was fortunate enough to listen to a few raw tracks recorded at the studio with his full band recently, and there are at least two hit singles on this new album. Trust me when I tell you that the songs “Come on Get Higher” and “Car Crash” are catchy as hell, and the two that you should download first on iTunes when they debut in 2007.

 

You might have heard his remake of the James’ song “Laid” on the radio, from the American Wedding soundtrack, and some of his other songs on Dawson’s Creek, Road Rules and Smallville.

 

If you’re not familiar with him now, you will be. Give him a try, and keep your ears open for his name, his music and his face, on stages, in stores and in the media soon and for a very long time to come. I look forward to the day when he crosses into that next level of recognition and critical acclaim, and I have a strong feeling that the wait won’t be long. 

 

I’ve known Matt for fifteen years now, and I realize that my heaps of praise for him may be misconstrued as pure drivel from a totally biased perspective. But if you had a very good friend under the same circumstances (exceedingly talented with an enormous fan base, yet unsigned and ready for fame), you too would pimp his or her music to every single person you know, at the top of your lungs and on every rooftop from coast to coast.

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I thought it might be fun to Blog while flat on my back and under the influence of SOMA, the magical pill that is supposed to relax the excruciating grip on the muscles of my lower back. Good times!

 

In between bouts of crap TV and naps, I’ve been watching movie trailers online. And I came across a poster for one that I thought had to be a joke, because the top billing said: Costner and Kutcher. Seriously. They are co-stars in a movie called The Guardian, which looks like a cross between Top Gun, Men of Honor and The Perfect Storm…starring two of the most famous actors who shouldn’t be. Either famous or actors. And you know I’m a closet Costner fan, especially of his comedic resurgence in The Upside of Anger and Rumor Has It.  So although I am very entertained by the casting of Costner and Kutcher, I am also intrigued and feel inclined to actually see this movie. And I will probably be the only one to admit it if I do.

 

Would Ashton Kutcher even be a household name if were not for Punk’d or being Mr. Demi Moore? Is he leading man material, or does he fall into the Josh Hartnett category? One cult classic (Dude, Where’s My Car) does not a master thespian make.

 

More less-than-lucid thoughts to come. Stand by for more classic analysis and pearls of entertainment wisdom in the next week or two.

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I promise to post new blog entries in the next week or two. I’m out of commission for a while, recovering from a back injury. See you soon.

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Superman has indeed returned.  I am not a comic book geek per se, but for some reason the man of steel has always been my superhero of choice. The first three Superman films were childhood favorites (Superman IV: The Quest for Peace, was a disappointment and box office bomb). I loved Superman I (1978) & II (1980) because of Terence Stamp, who played villain General Zod with a delightfully droll and snarky sarcasm (which Stamp later channeled as drag queen Bernadette in The Adventures of Priscilla, Queen of the Desert). Let’s all say a prayer of gratitude that Superman Returns did not reintroduce General Zod, as director Bryan Singer had insisted on Jude Law but removed the role entirely from the script after Law turned it down repeatedly. Phew!

 

The real highlight of the Superman franchise was Gene Hackman as Lex Luthor. Although he did not appear in Superman III (due to conflict with the producers), Hackman stole every scene he was in; he played Luthor with a spirit that all actors who have played villains in comic book adaptations since have failed miserably to emulate. That being said, I did enjoy Kevin Spacey’s Lex Luthor in Superman Returns.  My only issue is that his performance almost seemed restrained; I got the sense that perhaps he was asked to reel it in a little, suppressing a more maniacal and comical characterization.  Lex Luthor is a somewhat iconic and memorable role, and Hackman’s shoes are difficult to fill, but I can’t imagine any other contemporary actor who could have pulled it off as well as Spacey does.  

 

Brandon Routh, the tall and handsome new version of Superman with the Tom Cruise grin, does an admirable job. Only his perfectly coiffured curl while airborne was distracting. Kate Bosworth, on the other hand, would not have been my first, fifth, or even fifteenth choice as Lois Lane. Then again, Mischa Barton was also being considered, which would have been far more painful. An unknown actress would have been preferable, or at least one who has eaten a few more sandwiches in her day. I’m sure Bosworth’s procurement of this role was aided by the fact that she had just co-starred with Spacey in Beyond the Sea, as he has a strong professional relationship and history with Singer (he directed Spacey’s Oscar-winning performance in The Usual Suspects). But above and beyond her performance, I highly recommend Superman Returns. Go see it in the theatre, well worth the price of admission for the airplane scene alone.

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I am in love with Deadwood. Openly. If you haven’t already, set your TiVo for a Season Pass. Trust me.

 

I am continually blown away by David Milch’s write-as-you-go script and the fiercely passionate and independent female characters. Milch, who also wrote Hill Street Blues and created NYPD Blue, has chosen to move on to new projects for HBO following this season of Deadwood, but at least the raw beauty of this powerful western will live on, on DVD.

 

Robin Weigert’s role as Calamity Jane is phenomenal and fun to watch, as is Paula Malcomson’s transformation of Trixie from high ranking whore to budding bank bookkeeper.  Add Kim Dickens’ portrayal of conflicted Madam Joanie Stubbs and Molly Parker’s stubborn Alma Garret, and this series packs one hell of a feminist punch. Seriously. In an era and location where prostitution is the number one occupation, these four women are constantly striving to rise above their circumstances and by doing so, each in their own way, they quietly and subtlety control the men and dictate the social climate of the camp.

 

Pop culture tidbit: Creator David Milch was a Yale fraternity brother of George W. Bush. Also, Geri Jewell, the actress with cerebral palsy who plays a saloon employee on Deadwood, was Blair’s cousin Geri on The Facts of Life.

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I actually saw The Break-Up. On purpose. I had designated the movie an obvious rental as soon as the trailer appeared months ago, but I had a few spare hours yesterday (and I’d seen every other film now playing at my local theatre).  I’m not onboard with either Team Brangelina or Team Vaughniston, but morbid curiosity and sheer boredom were enough of an impetus for me to shell out $7 for the matinee.

 

In a nutshell, The Break-Up is a harsh glimpse into the uncomfortable airspace between two adults living together after their relationship implodes and unravels in a very quick and ugly way. Although I was impressed by the script, I was not sold on the chemistry between Jennifer Aniston and Vince Vaughn at all (which may or may not be an indication of their potential or longevity together off-screen).  

 

I am not surprised that the movie was marketed as a comedy, given both the stars and the few funny scenes that were chosen for the trailer. But this is not an entertaining two hours; the interaction between the lead characters is unpleasant at best. As a matter of fact, I would not recommend The Break-Up to anyone who has been through or never recovered from the painful dissolution of a long-term relationship. Watching this film is not a therapeutic experience, and there is a good chance that you might leave the theatre more unresolved and depressed than you anticipated.

 

Pop culture highlight: Peter Billingsley, who plays Joey Lauren Adams’ husband in The Break-Up, was the infamous Ralphie in A Christmas Story. Now a successful television and film producer, Billingsley and Vince Vaughn have been best friends since they appeared together in an After School Special about steroids early in their careers. Awesome.

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