Review: Boris – Heavy Rocks 2011


Oh Boris. The next album of their 2011 trilogy (they actually released a fourth one, a noise album with Merzbow that doesn’t deserve much attention) is named Heavy Rocks. It’s not called Heavy Rocks 2011, or anything like that. No, it has the exact identical same name as their April 2002 release. That’s not the most misleading thing about it though. What makes Heavy Rocks the oddest of the three is that in a lot of ways it’s not particularly heavy. The guitar and drums certainly are, to such a wild extent that it’s hard to take the first few seconds of the album seriously. But they’ve brought their more recent styles along for the ride.

Riot Sugar

What Heavy Rocks 2011 certainly is not is a full return to their stoner/doom roots. It’s something way more bizarre. Oh they turn up the distortion to the max and chug out deep dirty chords the whole way through, but somewhere in there it feels like they’re still playing the role of j-rock stars, floating around up in the sky somewhere. If the majority of the album is relatively in keeping with Riot Sugar, some of the songs are still more pop than anything else.

Window Shopping

I mean, if I called something “pop metal” it would normally be an insult–a reference to talentless mass consumer metal bands like Disturbed and Drowning Pool. But Boris take the notion more literally. This is the most unmistakable on Window Shopping and Tu, La La. I don’t think “pop metal” is their ultimate goal though. I wouldn’t say, from listening to it, that the album has anything so specific in mind. It just disregards the past, and unabashedly incorporates what Boris sound like here and now, which is a whole mess of different things really. The only real goal of the album, I’m pretty sure, is to be heavy. And to rock.

Aileron

Thus you get songs like Aileron. It’s unmistakably Boris, and stylistically it has a lot more in common with their early albums than with anything on New Album or Attention Please. But it doesn’t feel like those earlier works much. It’s underpinned by the dreamier qualities that they’ve recently adopted, for better or worse. I mean, this sounds like the breaking point of Flood III in reverse, like the water is all lifting up to the heavens. I really don’t know what I’m listening to on a lot of this album, and it took a while to grow on me. It has nothing of the immediate appeal present on the other two, but it’s good in its own unique way.

Galaxians

Galaxians is my favorite track, and it kicks off with some stoner metal more in keeping with the original Heavy Rocks than probably anything else on the album. But it still feels like it’s floating. The softer vocal style, that sort of laser gun effect they’re using, even the track title suggests something far from the earth. Maybe this song best represents what they’re going for. I think I’d have understood the whole album a lot better if they’d named it Heavy Clouds.

Heavy Rocks 2011 is my least favorite of the three, but don’t get me wrong. I really like it. Besides, Boris have a unique and coveted ability to never sound bad. It’s either really good or just really weird/experimental. Even at their worst (and I’m not calling Heavy Rocks 2011 that) they always reward us with something great somewhere down the line.

In 2011 that something great is called Attention Please, and I’ll be wrapping up this review series by covering it tomorrow.

Movie Review: Captain America – The First Avenger (dir. by Joe Johnston)


This won’t be the only review for Captain America: The First Avenger here on the Shattered Lens. This may very well be considered an editorial on the film, depending on whether I can stay on topic (I gush a lot in this one). Once they see it, both Arleigh and Lisa Marie will probably make their own posts. Either way, you’ll have more than one perspective on the film.

Addendum: Arleigh’s review is up.

Many years ago, Marvel Comics decided that with all of it’s key franchises spaced around various film production companies, they’d create a series of films that would culminate to one big “Team Up” story. That team is known as The Avengers and it’s members (for the sake of the films, anyway) are Iron Man, Thor, The Incredible Hulk, The Scarlett Witch, Hawkeye and Captain America. The project really went into high gear when Marvel Studios was born and Disney purchased Marvel.

I didn’t have a lot of hope for Captain America: The First Avenger. I know very little about the character save for the comics my older brother used to read. He was an army guy given something to make him super and he had a really cool shield that he’d throw and have return to him.. That was basically the bulk of my knowledge. When taken into account the announcement that Joe Johnston was directing the film, after his somewhat disappointing turn in The Wolfman and that Chris Evans was playing the role, I was certain the film was going to fail. I mean, wasn’t he just playing the Human Torch in The Fantastic Four?

Now, you need to understand that hearing Joe Johnston’s name attached to this left a mixture of feelings. I absolutely love The Rocketeer (1991) and period pieces in general. He was able to give it a nice ‘30s feel, right down to the old war serials that used to be shown before films. Hell, even the poster to that film was something grand. My little brother had a Rocketeer toy and I used to film home movies with it, holding the character just in front of the camera and running around the house as if it were flying. Unfortunately, it didn’t quite work out as well for Johnston or Disney then – but that’s another story.

As for Captain America, the movie floored me. The story isn’t as complex as say, The Dark Knight or as full of itself as Green Lantern, but it’s hands down the best story in the whole Avengers arc that Marvel’s worked on. From my viewpoint, only Iron Man comes close to competing with this film.

The premise of the story is pretty straightforward. Steve Rogers (Chris Evans) is a frail man with just about every problem you can think of. He’s short, he’s asthmatic, and he can’t do a pull up to save his life. Yet, as his parents were in the Army, he felt it was right that he do his part. Every time he tries to enlist, however, he’s told he can’t. This doesn’t sway him from the belief that he can do it, it just forces him to find other ways in. When a scientist overhears Steve’s reasoning behind wanting to join, he gives him a big chance to become the first of many Super Soldiers. The process does indeed work, but a mishap leaves Steve as the only Super Soldier the Allies have, and thus, Captain America is born.

Now, I’m kind of summarizing things there as the story’s just a little bigger than that, but it really needs to be noted just how great a job Chris Evans did in this. He portrays Steve Rogers as one of the most noble characters I’ve seen since Superman. The character never loses that drive or passion, and it came across so well that on reflection, I can’t recall ever thinking once about the Human Torch (something I fully expected to do here). I found myself really wanting this character to succeed, which is more than I could say about Hal Jordan in Green Lantern despite loving the comic. Evans truly was the right person for this film, in my opinion. Again, die hard Captain America fans that have grown up with the character may disagree.

Captain America also has a rich supporting cast. Hayley Atwell, coming over off a great role in the Starz Miniseries The Pillars of the Earth plays Peggy Carter, a tough as nails Army Officer that helps to motivate Rogers toward the path he’s destined to take. Atwell is beautiful, demure at times and responsive at others, every bit as she was when playing Alienna. Also from Pillars of the Earth is Anatole Taubman as one of Johan Schmidtt’s (Hugo Weaving’s) Officers. Tommy Lee Jones’ Colonel has some of the funnier lines in the film. Weaving does a great job as always at playing the villian. There’s really very little I can say on that other than the make up job they gave Weaving’s Red Skull was nice, right down to the visible seams just under his ears. Sebastian Stan has a good role in Rogers’ best friend, Bucky, but I think he could have used a little more. Even Natalie Dormer (Cassanova, The Tudors) and Amanda Righetti (Friday the 13th) have cameos. If the film has two supporting anchors other than Atwell, it would be Stanley Tucci (Easy A) and Dominic Cooper (The Devil’s Double). As Abraham Erskine and Howard Stark, respectively, they both almost steal the show from Evans. They both have a few key moments in the film.

If Captain America suffers from any problems, it may be that it gets from Point A to Point B a little quicker than I’d have liked it to. Some of the pacing is done in Montages, which is okay for showing the audience that the Captain is making progress, but I would have liked to have seen another mission or two before the finale. The buildup to Steve Rogers becoming the Captain is fast, and everything else moves pretty quickly from there on in. The last battle sequence could have been stronger – I’m reminded of the tank sequence in Indiana Jones and the Last Crusade – but considering the era in which the story was told, I wasn’t really expecting lightsabers or anything along those lines. It wasn’t bad, but it was over sooner than I expected. I should also point out that it really does help to have seen the other Avenger related movies. It’s not really a requirement, but the larger puzzle really comes into view on seeing this film.

Visually, the film is great. Johnston really catches that sense of old New York, though it may not be as nuanced as Jackson’s in King Kong. The colors are a little muted in some places, but I’m thinking that’s part of the tone that was set. There’s even a musical number that’s somewhat cute. The 3D effects in this are okay for some scenes. The end credits in particular were nice, but over all it’s really nothing to write home about. I’m still of the notion that 3D should really be restricted to animated features.

Overall, Captain America was a fun film in the vein of Joe Johnston’s earlier film, The Rocketeer and is easily the best of the Marvel Studios Avenger prequels. I’ll be heading back to see it again on Sunday.

And remember, when the movie is done, don’t leave. After the credits comes something definitely worth seeing (at least the yelling and cheers from my audience seemed to deem it so).

6 Trailers To Help Dry Lisa’s Tears


Oh my God, yesterday sucked. 

First off, I was supposed to be seeing Capt. America but when we were standing in line to get our tickets, I started to feel dizzy and then I kinda sorta ended up fainting.  Which I know sounds like something serious but, to be honest, I faint all the time.  I’m like a Tennessee Williams heroine that way.  It’s no big deal except to my sister and my boyfriend who decided that instead of going to the movies, I should go home, lay down, rest, and “take care of myself.”  so, I told them that they were crazy and that I was perfectly fine and they were like, “You’re so full of it, Lisa Marie,” and then I stood up to show them how healthy I was and I guess I didn’t put my feet on the ground correctly because suddenly, I was going down again and anyway, long story short, I ended up being dragged back to the house.

And then once I got back home, one of my longtime twitter followers suddenly decided to unfollow me because apparently, I haven’t been a good enough friend to him.  Which I found interesting considering that I had just spent the past week literally holding his hand while he attempted to get over not one but two girls who never liked him in the first place.  So, yeah, learning that despite my best efforts, I’m apparently just a self-centered bitch who foolishly uses twitter to talk about what I want to talk about as opposed to devoting all of my time to helping some asshole deal with problems that a 12 year-old should be able to freaking handle, well, that kinda sorta hurt my feelings just a little bit.  (Contrary to popular opinion, redheads with big boobs actually do have feelings.  Go figure!) 

However, things are not a complete bust.  First off, as I type this, I’m watching the old episode of Degrassi where Emma and Alex have that huge fight in the school hallway while Paige and Spinner skip school and Ashley gets dressed up like Elvis and then Mr. Simpson finds out his cancer is in remission.  I love that episode.  And, along with watching Degrassi, I’m also putting together the latest edition of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers.

Things are looking up already.

1) Last House On The Left (1972)

Yep, that’s the kind of mood I’m in.  I’m starting things off with the trailer for the evil grindhouse/drive-in movie to end all evil grindhouse/drive-in movies, the original Last House on the Left.  Why?  Because, as the trailer tells us, the road leads to nowhere…

2) Destroy All Monsters (1968)

If I do get out of my present funk, it’ll be due to trailers like this one.  It’s just so goofy! 

3) Cheerleader Camp (1988)

Erin claims that actual cheerleader camp was nothing like the cheerleader camp in this trailer. 

4) The Park Is Mine (1986)

This Canadian action film stars Tommy Lee Jones, who was also apparently in Capt.  America.  Not that I would know.

5) The Undertaker and His Pals (1966)

Believe it or not, I’ve got this one on DVD and this is one of those films that looks a lot more extreme in the trailer than it actually is.  The film itself is a collection of bad performances, juvenile humor, and silly gore effects.  The trailer looks a lot more sick than the actual film, which is why it’s a classic of grindhouse advertising.

6) It’s Alive (1974)

This is yet another trailer from the fertile mind of Larry Cohen.  It’s alive!  What is it?  It can either be your dream or your NIGHTMARE!  Much like me.

Review: Boris – New Album


I really ought to have reviewed this album back in March when it was released, because a few things about it have changed. For one thing, the band has since released two additional full lengths, bringing their total discography up to 28 studio albums since 1996 and enough singles and ep releases to make your head spin. More importantly, six of its ten tracks have since been rerecorded. With a seventh song having appeared in a rather different form on an ep in 2009, it is now difficult to regard New Album as its own unique work and not a sort of compilation.

But Boris have never made the reviewer’s life easy, what with changing their style nearly every year and constantly reworking older recordings. This is a band that just refuses to conform to any norm of musical creation. They’ve been doom metal, they’ve been stoner rock, they’ve been drone, they’ve been heavy metal, they’ve been psychedelic rock, they’ve been post-rock, they’ve been shoegaze… It was in 2009 that they really started to go crazy though. They didn’t release much in the way of studio albums that year, at least by Boris standards. Most of what they had to offer came in the form of short one to four track recordings. But there wasn’t a style of the year this time, no one flavor they opted to focus on for a set period of time. No, they’d release a straight up pop single one month and a black metal song the next, with every style previously mentioned somehow incorporated in between.

フレア (Flare)

So what is New Album, and how is it distinguished from their other two releases, which share a number of the same tracks? Well, first of all New Album is j-rock. It was only released in Japan, and all of the songs that were to later appear as hard rock or dream pop here, without losing those characteristics, take on a much more happy, upbeat, decidedly Japanese flavor. The opening song, Flare, is the most telling, both because it is the most characteristically j-rock song of the lot and because it does not appear on any other releases.

Pardon?

But this brief summary doesn’t quiet explain New Album. I mean, the three songs that are exclusive to it–Flare, Pardon?, and Looprider–share very little in common. It’s the album’s take on tracks that reappear later that make it j-rock, far more so than the other two new additions. Wata’s chilled out psychedelic guitar solo on Pardon? is if anything the most thematically out of place portion of the whole album.

Where Heavy Rocks 2011 really stands apart, the distinction between New Album and Attention Please isn’t all that strong. The latter is better, the former is a bit more Japanese. Since I intend to cover their other two albums later this week, I don’t want to reveal too much. Let’s just say this is the happiest, poppiest of the three, and if that appeals to you then it’s definitely worth picking up. Or downloading, I guess, since it won’t be released in North America.

I’ll leave you with by far the most stand-out song on the album (and one that is again a bit out of place, if the album can be said to have an overall stylistic theme at all.) In 2009 Boris released Black Original as the second of two tracks on Japanese Heavy Rock Hits Volume 2. It was a pretty simple, subdued work, featuring a single synthy drum beat, Wata playing a continuous solo that never incorporated more than one note at a time, and Atsuo singing in airy vocals with an occasional small accompaniment. The new Black Original, in contrast, is anything but minimalistic.

Black Original

Anime You Should Be Watching: Ika Musume


Today is a rarity for two reasons. First off, I went and watched a highly anticipated movie, Captain America, BEFORE Arleigh went and saw it. Since live action stuff isn’t the sort of thing I care to review, I have no intentions of doing so here (probably obvious by the title) but it is a very good movie and people should go watch. Secondly, I’m actually making a post! Yes, I am still a contributor to this site, I’m just not a very dedicated one. But today, I submit before you all that if you have not yet seen the awesomeness that is Ika Musume, then you have just been missing out on one of the best anime of 2010.

The basic premise goes as such. Ika Musume, or Squid Girl (the name given to her in English adaptations, which is what her name translates to, but I just prefer Ika Musume) comes to land to punish humans for their constant polluting of the oceans. Now, people that know me know how much of an anti-environmentalist I am, so even though this sounds like enviro-hippie bullcrap, needless to say things do not go exactly as planned. First off, she’s far too adorable to be taken seriously as a conqueror. You tell me, would you at all fear this?

Of course you can’t, and of all the people she meets, only one person actually takes her threat seriously.  Because no one other than that one girl seems to be at all bothered that there is an anthropomorphic squid in their midst.  In fact, Ika Musume surfaces and subsequently tries to invade a beach house run by three siblings, Eiko, her older sister Chizuru, and their younger brother Takeru who instead of being fearful of her immediately put her to work to repair damage that she did to their restaurant.  And Ika Musume doesn’t seem capable of staying on track for very long, because she almost immediately agrees and gets to work!  Her talents are immediately apparent, as she is able to carry 8 dishes or drinks at a time with her tentacles, and she also can produce plenty of squid ink, which is used to season spaghetti noodles.  I don’t know if that’s a Japanese specialty, or if that’s eaten in other cultures, but it’s apparently a hot seller there.

But eventually, Ika Musume does remember that her goal is to subjugate all of humanity.  So, what keeps her in check?  Ika Musume makes the mistake of threatening Eiko and Takeru, taking them hostage with her tentacles, and the normally mild mannered Chizuru shows a side you rarely see, where she becomes a combat specialist that would be the envy of any Navy SEAL.  Needless to say, after being shown that her life could be snuffed out in an instant, whenever Chizuru detects any rebellion out of Ika Musume, a simple glare is enough to set her back on track.

One thing that Ika Musume is very well known for is her distinctive speech pattern.  Long time anime veterans are likely familiar with characters having character specific traits.  In Kanon it was Ayu and her “uguu”.  In Rozen Maiden it was Suiseiseki and her “desu”.  Ika Musume brings the very appropriate “de geso” as the ending to almost all her sentences.  Geso literally translates to “arms of squid as food”, so you can see how it appropriate it is for her.  But me telling you about it just isn’t the same as experiencing it yourself, so without further ado, here is Ika Musume in all her de geso goodness.

I don’t know about all of you, but this is one invader that I’d welcome with open arms.  Thankfully, she’ll be back again when the second season begins airing this fall.  It can’t come a moment too soon for me de geso.

SDCC 2011: Haywire (dir. by Steven Soderbergh) Exclusive Trailer


It would seem that Steven Soderbergh was quite busy doing something small and simple leading up to his upcoming world-encompassing viral apocalypse film, Contagion. He managed to film an action-thriller (still feels new to say Soderbergh and action-thriller in the same breath) starring MMA fighter Gina Carano as the lead. The film’s title is Haywire and from the synopsis bouncing around the film looks to be quite a throwback to the late 80’s and early 90’s action-thrillers where the main lead is a super-spy or operative betrayed by those they work for and must now take them out to save their loved ones.

It’s going to be interesting to see how Soderbergh handles action on the level Haywire seems to be promising in the trailer. Even if he punts that side of the film the cast alone should make this film worth a look when it comes out. I mean outside of Carano there’s Michael Douglas, Michael Fassbender, Ewan MacGregor, Bill Paxton and Antonio Banderas (channeling a wicked imitation of Saddam Hussein’s fugitive beard).

Haywire is set for a January 20, 2012 release date.

SDCC 2011: The Walking Dead Season 2 Trailer


The day before AMC released new production photos from the set of the second season of The Walking Dead series. Another bonus was their reveal of the Comic-Con exclusive poster for the show painted by comic book illustrator and cover artist extraordinaire Tim Bradstreet. Today was the big panel for the show’s season 2 at San Diego Comic-Con. Robert Kirkman was in attendance as was showrunner Frank Darabont and producer Gale Anne Hurd. The cast was also in attendance. Questions about their initial experience on the truncated first season were asked and answered. But the one thing people wanted to see the panel showed quite early and again as the panel concluded.

The Walking Dead season 2 has been given a definitely premiere date of October 16, 2011 just in time for AMC’s Fear Fest leading up to Halloween. It was the unveiling of the new season’s trailer which got the audience cheering loudly and from reactions to the trailer one thing is set to be sure and that’s this season looks to be even more bleak and with more forward momentum than the first season.

The show is less than 3 months away and it cannot come any sooner.

Review: Burzum – Fallen


Varg Vikernes was released from prison on May 24th, 2009, and in less than half a year he was recording a new album. Belus turned out to be everything I could have hoped for and more. It’s hard to describe what makes Varg’s music so enthralling. It has a sort of power to it–a trance-like quality that forces me to never really contemplate what it is he’s playing and just soak in its effects. Whether it’s Han Som Reiste in 1993 or Kaimadalthas’ Nedstigning in 2010, each album reaches a point where I’m completely lost in the music, sucked into his demented little world. Some of the weirdest dreams I ever had have ensued from falling asleep to Det Som Engang Var.

Jeg Faller

Sixteen years in prison didn’t seem to detract from this. Belus felt to me like the perfect continuation to Filosofem, as though his long absence from the metal world did not negatively impact his talents in the slightest. Yet somehow, just a year later, everything has changed.

I want to say straight ahead that Fallen is pretty bad. Not only does it musically lack his long-standing ability to captivate me, it’s pretty obnoxious at times. First of all, the vocals are a train wreck. Maybe in response to criticism that his screaming vocals weren’t as demented on Belus as they used to be, or maybe because he’s just an old man who can’t pull it off anymore, Varg completely abandons screaming on Fallen. Instead he whispers with a mouth full of marbles–the most annoying spoken vocals I have heard since Rhapsody of Fire were visiting the court of king chaos.

And the opening track’s chorus… Well, to quote a friend of mine, “It’s so catchy. I think Varg has an unexplored career in pop music waiting on him. Ahhhhh ahhhhh ah ahhh, jeg faller. Oooo oooo oo ooo, jeg faller.”

Enhver til Sitt

Jeg Faller might be the biggest joke on the album, but a lot of the problems that plague it persist. His new vocal style is completely unconvincing, and that feeling that he’s trying too hard forces me to actually pay attention to the music, not just let it take me like his past works. You’re then left with the realization that he’s really not a very good musician at all. In the absence of any encompassing force, the boring repetitive simplicity of his riffs stand defenseless.

It’s always intrigued me that a guy as batshit insane and colossally egotistical as Varg Vikernes could write such brilliant music. No one but Varg himself honestly expected Belus to be any good, and that made its success all the more startling. Fallen, on the other hand, is pretty much what I expected Belus to be.


Budstikken

That being said, the album has its few sparse moments. Budstikken stands out as my favorite by far, being the only track I actually really like. But its uniqueness is too little, too late. If he’d released Fallen straight out of prison I’d have said “ah well” and not bothered much with it. It’s because he so recently proved himself that Fallen disappoints rather than simply living up to low expectations.

The weird thing is this album seems to have met a generally better reception than Belus. I don’t know if more people actually like it or if the critics aren’t even wasting their breath anymore, but my verdict is that Fallen just isn’t very good. Who knows, maybe his next one will be brilliant. He’s a pretty unpredictable guy. But for now, I’m going to keep listening to Belus and pretend this one never happened. Except for Budstikken. I really like Budstikken.

SDCC 2011: The Walking Dead Season 2 Comic-Con Tim Bradstreet Poster


The first official day of San Diego Comic-Con 2011 saw the release of an exclusive Season 2 poster for AMC’s The Walking Dead series. Last year at this same comic-con saw this series release a first season exclusive poster painted by Drew Struzan which was a hit with fans of the comic book and the show. This time around another fan favorite artist was tapped to paint the second season poster for Comic-Con.

Tim Bradstreet is one of the well-known comic book illustrators whose comic book covers have become favorite of comic book fans everywhere. Whether they were covers for Vertigo’s Hellblazer series or for Steve Niles’ wildly popular Cal McDonald series his covers had a unique horror-noir look to them. This Bradstreet style really lends itself well to the Season 2 poster for The Walking Dead.

Today also saw a couple new production stills from Season 2 which looks to have Rick and the gang breaking down on an interstate full of wrecked and abandoned vehicles and most likely attracting all sort of zombies to their presence.

Source: AMC

SDCC 2011: Drive (dir. Nicolas Winding Refn) Red Band Trailer


One of the films I’ve really been following since last year and can’t wait to see this September is the latest film from Danish filmmaker Nicolas Winding Refn. I’ve loved his work since I first got introduced to his Pusher Trilogy and saw his two most recent work with Bronson and Valhalla Rising. He is following up the latter with what I could only describe as his own take on the neo-noir genre film, Drive.

At San Diego Comic-Con 2011, the latest trailer for Drive was introduced during the FilmDistrict panel which also had Guillermo Del Toro and his upcoming produced horror film, Don’t Be Afraid of the Dark. This latest trailer for Refn’s Drive is of the red band variety but from what I could tell from the trailer it shouldn’t be NSFW.

The trailer really doesn’t delve too much into all the plot points of the film. It does give a sense that the film has been influenced by past genre crime films and some of the classic grindhouse chase films of the 70’s. One thing I’m sure of is that this film’s cast looks to be one of the best for any film being released in 2011: Ryan Gosling, Carey Mulligan, Ron Perlman, Oscar Isaac, Albert Brooks, Bryan Cranston and Christina Hendricks just to name a few.

Drive is set for a September 16, 2011 release here in the United States.

Source: IGN