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Film

The Front Page: SE&L's Best of Summer 2006

It was, for the most part, a pretty mediocre summer movie season. All the proposed blockbusters were either artistic or critical busts (with one major exception) while smaller films like Little Miss Sunshine and The Descent snuck up on audiences and proved far more inventive and satisfying. Four months ago everyone was talking about the impact The Da Vinci Code would have, as well as the potential domination of Superman Returns over the rest of the popcorn film landscape. Now, as September slowly arrives, we're questioning New Line's 'Net-only strategy regarding Snakes on a Plane and wondering if Monster House would have done better as a Halloween release. Yes, there were a few legitimate lessons to be learned amidst all the hype and hoopla: Will Ferrell showed that if Larry the Cable Guy ever decides to retire, the former SNL-er may have a viable career as a NASCAR comic; M. Night Shyamalan completed the fall from grace every fanboy has been expecting since Unbreakable's last five minutes; prestige performer Meryl Streep may be a summer movie's biggest secret weapon; and CGI continues to cannibalize itself.

Indeed, from the mundane machismo of Michael Mann's reimagined Miami Vice to the feel good fizzle of World Trade Center, the Summer of 2006 continued to illustrate the incredibly sad fact that original ideas are scarce, star power means very little in light of a bad script and sloppy execution, and superheroes in the wrong hands aren't quite so 'super'. Still, there were a few releases worth cheering for, movies that managed to not only entertain, but exemplify the new niche oriented approach to motion picture subject and salability. Gone are the days when one film completely dominates the pop culture consciousness (again, with one major exception). In its place are dozens of offerings, each one speaking to a specific individual audience. So, without further ado, SE&L presents its picks for the Top 5 films of Summer 2006:

5. Cars

Say what you want about Pixar's latest anthropomorphic epic, but no other animation company working today has such a consistent track record in pushing the artistic and emotional limits of CGI. While many felt that this was one of the rare occasions where technology and technical skill got the better of the storytelling, there is still something awe inspiring and adventurous about this tale of an egotistical race car that learns friendship and humility among the automotive residents of a forgotten Route 66 city. Granted, the wistful appeal of the open road contributed a great deal to the film's considerable scope, but it was the voice acting work of Paul Newman, Owen Wilson, Michael Keaton and Bonnie Hunt that gave this film it's poignancy and heart.

PopMatters Review

4. Monster House

Perhaps the biggest snafu that occurred this summer was the decision to release this brisk fall snap of a picture in the middle of one the muggiest, most humid seasons on record. Using the motion capture technique advanced during the creation of The Polar Express, Executive Producer Robert Zemeckis, along with old pal Steven Spielberg, found the perfect combination of story and filmmaker (first timer Gil Kenan) to realize their vision of real life recreated in a remarkable animated fashion. The result was a Goonies for the post-millennial masses, a smart, intelligent adventure that avoided many of the artforms more obvious clichés (pop culture references, stunt voice casting) to forge a generally exciting, incredibly inventive film.

3. Pirates of the Caribbean: Dead Man's Chest

As a sequel to one of the biggest hits from 2004, this revisit of Pirate's mainstream mystique had a lot to live up to. Many were concerned that Johnny Depp's Capt. Jack Sparrow, so memorable in the first film, would grow old and stale the second time around. Some wondered if new villain Davy Jones would match Capt. Barbossa in the all important areas of evil and cunning. From a broader perspective, a few fans questioned why another film needed to be made at all. While the overall critical consensus was mixed, Dead Man's Chest has become the biggest box office hit of 2006, and continues to bode well for the final installment of this proposed buccaneer trilogy (tentatively entitled At World's End) to be released NEXT summer.

PopMatters Review

2. Clerks II

Who would have thought that Kevin Smith could revisit his initial success as a filmmaker and make it fresh, ingenious and undeniably hilarious? Of all the movies to arrive at the Cineplex this summer, Clerks II was the most consistently enjoyable. It gave fans a chance to reconnect with their favorite New Jersey slacker duo, introduced a couple of brand new characters that instantly took their place in the pantheon of Smith originals, and proved that nothing is more cinematically fulfilling than great dialogue, expertly delivered. Even more miraculous, a significant amount of emotional resonance was unearthed, giving depth and direction to all the dirty jokes and donkey show antics. What could have been a regular 'K-Mart' of a comedy turned out to be one of the season's most unexpected gems.

PopMatters Review

1. Snakes on a Plane

While it's easy to argue about the film's failings as a thriller, a campy cult phenomenon or an Internet marketed misstep, there is one undeniable fact – Snakes on a Plane is a great deal of genre fun. A complete throwback to the blockbusters of the '70s (It's like Airport mixed with a drive-in delight like The Day of the Animals) this unapologetically entertaining film makes no bones about being gratuitous or goofy. With the entire cast in on the joke, and the filmmaking free to explore all the plausible parameters of the title, we end up with a real rollercoaster ride that wraps its anarchic action in a blanket of pure b-movie mania. While it may not have been the perfect summer 2006 film, Snakes did the best job of reminding audiences of just how special the season can be. It was the only film that actually FELT like a blockbuster.

PopMatters Review

In Thursday's Short Ends & Leader Blog: The Five Worst Films of Summer 2006.

Music

The Best Indie Rock of 2017

Photo courtesy of Matador Records

The indie rock genre is wide and unwieldy, but the musicians selected here share an awareness of one's place on the cultural-historical timeline.

Indie rock may be one of the most fluid and intangible terms currently imposed upon musicians. It holds no real indication of what the music will sound like and many of the artists aren't even independent. But more than a sonic indicator, indie rock represents a spirit. It's a spirit found where folk songsters and punk rockers come together to dialogue about what they're fed up with in mainstream culture. In so doing they uplift each other and celebrate each other's unique qualities.

With that in mind, our list of 2017's best indie rock albums ranges from melancholy to upbeat, defiant to uplifting, serious to seriously goofy. As always, it's hard to pick the best ten albums that represent the year, especially in such a broad category. Artists like King Gizzard & the Lizard Wizard had a heck of a year, putting out four albums. Although they might fit nicer in progressive rock than here. Artists like Father John Misty don't quite fit the indie rock mold in our estimation. Foxygen, Mackenzie Keefe, Broken Social Scene, Sorority Noise, Sheer Mag... this list of excellent bands that had worthy cuts this year goes on. But ultimately, here are the ten we deemed most worthy of recognition in 2017.

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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 Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

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It's ironic that by injecting a shot of cynicism into this glorified soap opera, Johnson provides the most satisfying explanation yet for the significance of The Force.

Despite J.J. Abrams successfully resuscitating the Star Wars franchise with 2015's Star Wars: The Force Awakens, many fans were still left yearning for something new. It was comforting to see old familiar faces from a galaxy far, far away, but casual fans were unlikely to tolerate another greatest hits collection from a franchise already plagued by compositional overlap (to put it kindly).

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Yeah Yeah Yeahs played a few US shows to support the expanded reissue of their debut Fever to Tell.

Although they played a gig last year for an after-party for a Mick Rock doc, the Yeah Yeah Yeahs hadn't played a proper NYC show in four years before their Kings Theatre gig on November 7th, 2017. It was the last of only a handful of gigs, and the only one on the East coast.

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