Film

IMAX makes this 'Eagle' Soar


Eagle Eye

Director: D.J. Caruso
Cast: Shia LaBeouf, Michelle Monaghan, Rosario Dawson, Billy Bob Thornton, Michael Chiklis, Anthony Mackie
MPAA rating: PG-13
Studio: DreamWorks
First date: 2008
UK Release Date: 2008-10-17 (General release)
US Release Date: 2008-09-26 (General release)
Website

Beware of Big Brother…blah, blah, blah. You can't pick up a publication nowadays, or listen to any number of broadcast pundits, and not hear about how the Bush Administration is violating rights and the privilege of privacy for the sake of some metaphoric act of patriotism. Granted, the Constitution may indeed be jeopardized in the name of non-provable levels of safety (call it the "tiger rock" syndrome), but Americans are more than willing to buy into the scheme to avoid another 9/11. This fuels Hollywood's already perverse sense of paranoia, as it has since Nixon went Watergate-boarding. Disturbia director D. J. Caruso has tapped into such technological fear mongering with his latest big screen suspense thriller, Eagle Eye. While not perfect, if you ignore a major plot twist and/or hole along the way, you're sure to have an edge of your seat good time.

On the day that he buries his twin brother, Jerry Shaw suddenly finds himself engulfed in a world of trouble. His grubby Chicago apartment is suddenly overrun with terrorism paraphernalia - weapons, instruction manuals, and bomb making materials - and from his cellphone, a mysterious female voice tells him to flee. Before long, Jerry is in FBI custody, with Agent Thomas Morgan on his case. Joined by Air Force investigator Zoe Perez, the officials hope to stop this potential disaster before it occurs.

In the meantime, single mother Rachel Holloman is informed that her son, traveling to Washington DC on a school band trip, is in danger. Unless she agrees to help the mysterious female voice on the other end of the line, she'll lose everything. Turns out, Jerry is her proposed partner in potential crime. The pair become pawns in what appears to be a deadly assault on the United States. These reluctant radicals have to follow the instructions of their unseen tormentor, or die trying. Of course, the source of the threats might just be someone - or something - inside the government itself.

Bristling along on one amazing narrative convolution after another, and fueled by fascinating gung ho performances from everyone involved, Eagle Eye is a jovial serving of cinematic junk food. It's frightfully filling without being intellectually challenging, and appears put together by professionals who know a thing or two about maintaining an audience's interest. For those looking for mandatory movie references, this is nothing more than Wargames, Enemy of the State, North by Northwest and another famous 'odyssey' all rolled into one. To reveal the name of the last cinematic masterpiece riffed on would spoil the secret to the film's villainy. Suffice it to say that any motion picture from the last four decades, especially ones dealing with spying, science gone sinister, and massive governmental conspiracies, finds a hokey, hackneyed home here. Some just overstay their welcome, becoming the storyline's sole raison d'etra.

As with his homage to Rear Window, director Caruso casts messageboard separator Shia LeBeouf as his everyman, and for someone so hated by a good percentage of geek nation, the actor is very good here. He's not required to do much - a great deal of this movie is mechanics and manipulations to a deadly denouement - but in the quieter scenes, he shows subtly and nuance. This is not quite the grown-up role the pseudo-star needs - Jerry is still carved out of post-millennial slacker shortcuts - but as the innocent mark turned reluctant hero, he holds things together quite well. Michelle Monaghan is another issue all together. Her overwrought mother is horribly underwritten, complaining about her bastard ex-husband and her lousy paralegal's paycheck…and that's about it.

Thankfully, costars Billy Bob Thorton and Rosario Dawson pick up the slack. He's a manic FBI agent not sure which side of Jerry's story he believes. She's the Air Force attaché who uncovers a key piece of evidence explaining the forces behind the threat. One has to say that, if you buy the premise and the antagonist involved, Eagle Eye takes on a sly, almost mischievous sense of social commentary. Positioned directly in the War on Terror times we live in, the film's obvious jabs at the current White House and the incomplete intelligence that led us to invasion offer waves of wiseass recognition. If anything, Caruso appears to be anarchic in his advocacy. His position gives "We the People" a whole new meaning.

On the small screen, the frenetic action scenes and hand-held hysterics would clearly get lost. The editing typically takes a mashed up moment and amplifies it unnecessarily. But blown up 70mm on an IMAX screen, Eagle Eye becomes a crackerjack nailbiter. The car chases have a real logic and flow, and the foot races reveal both clever choreography and a true sense of space. Chicago looks luminous during the various aerial shots, and when CG takes over to establish the "omnipresence" of the Federal bureaus, the graphics look great. Like Beowulf inside the 3D domain, Eagle Eye needs to be experienced in the larger theatrical format. The detail in the image helps make up for some of the tried and true tricks the director uses to create breakneck cinematic chaos.

Even with its occasional lapses into illogical miscalculation (like the ability to control elements like electrical lines???), Eagle Eye is a great, goofball thrill. It's the kind of film you can get lost in, forgetting the fallacies streaming across your subconscious as you sit back and savor another sequence of veiled threat and vehicular mayhem. Certainly, the story is not meant to mean more than the basics of the genre, and any references to masters past remain securely on the side of the alluded to auteurs. But D. J. Caruso and Shia LeBeouf prove a potent combination, especially in the realm of easy to swallow suspense films. If you go in expecting The Conversation meshed with a sideways Manchurian Candidate, you'll be easily underwhelmed. But not every entertainment needs to engage the brain to guarantee success. Check your head at the ticket counter and you'll enjoy this wickedly wild ride - especially in IMAX.

7

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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