So the Pitchfork Best of 2002 is up, and I may as well cash in my hipness chips cause my collection doesn’t represent too well… 6 out of 50. 7, if you include Sleater-Kinney’s One Beat, which I’ll be getting on Boxing Day. Granted, Pitchfork does make efforts to include offerings from genres I don’t listen top (hip-hop, hardcore, IDM), but still. 6 our of 50? I usually do a little better than that. I guess I can take solace that five of them are in the top 10. I am going to have to review their picks as well as go through the reviews in the new BTO to see if there’s anything I should be adding to my list for Boxing Week.

Oh yeah, Soundscapes’ sale is 15% off everything.

Last week I noticed a movie poster for Femme Fatale that declared director Brian De Palma as ‘Master Of The Erotic Thriller’. Excuse me? When did this happen? The Untouchables wasn’t terribly sexy. Scarface neither. Carrie, maybe, if that’s your particular kink. Carlito’s Way? Mission: Imposisble? Geez, talk about making up your own accolades. Here is the man’s complete ouvre – judge for yourself. And I’m sorry, unless you’ve directed at least a half-dozen Shannon Tweed films, you’re not even in the running for ‘Master Of The Erotic Thriller’.

np – Paul Westerberg / Stereo

Caught a matinee of One Hour Photo this afternoon. It wasn’t on my ‘must-see’ list by any means, but I wasn’t avoiding it – I needed something to do this PM, and it fit the schedule.

I was not overly impressed. The direction was very art-house, stylized and stark, the score overbearing. I found Robin Willims’ performance vacant rather than sinister, his testament to the banality of evil was far more effective in Insomnia. Maybe playing against type in the same way twice in a year wasn’t such a good idea. Anyway, beyond that, what suspense was there just didn’t deliver. I don’t demand psychosis, but the climax of the film was both perplexing and uninteresting. Mark Romanek tries a last minute curveball to further explain Williams’ motivations, but it comes off as cliched and desperate. No recommendations for this film are coming from me.

np – Superdrag / Last Call For Vitriol

Had a Waterloo class reunion of sorts last night – the excuse was that Yolanda (soon to be Dr Yolanda) was back from Cambridge for the holidays and was in town, so all Tonka alumni in the GTA who were able got together at the James Joyce for beer and reminiscing. It’s funny, it didn’t matter that I hadn’t seen some of them for almost three years – within a few minutes it was just like a Wednesday night at the Bomber.

It was interesting getting caught up on news from the class, about 1/4 of us are now engaged or married. Shouldn’t be surprising, but still… Mona was there and freshly engaged. Quite an impressive rock on her finger, too.

Strangest moment of the evening took place just outside the pub – through the window, we could see this woman (we’ll call her crazy, for argument’s sake) who was flailing around on the street, grabbing passers-by and generally providing grade-A COPS material. At some point, she’d also taken off her pants and there didn’t seem to be any elastic waistband on her long-johns, cause every time she stood up, they came down, and let’s just say those long-johns were the last line of defence. And we got an eyeful. Several times. Uggggh. The police eventually showed up and took her away, but not before I, at least, was traumatized.

Won a copy of The Scud Mountain Boys’ Massachusetts on eBay last night for the princely sum of $2.25. Now that’s good eatin’.

np – Sigur Ros / ( )

So after the movie last night, we swung by the Unicorn on Eglinton for some food/drinks. They had an honest-to-god bar cover band there! We’re talking, Red Hot Chili Peppers, Jimi Hendrix, Tragically Hip covers here… and of course, Stevie Ray Vaughan. I was fascinated, I’d heard tale of such things but never thought I’d witness one! They were tight, but the guitarist didn’t seem too keen on taking solos which is odd, since these outfits are usually vehicles for a good ol’ six-string wank-o-rama. Either way, I was amused.

Got my Longwave CD in the mail yesterday, it should hold me over till the new album is released in February. Still no sign of my Joe Pernice CD though – it’s been almost two weeks since the auction closed, and even with the holiday rush, that’s a little long. Emailed the vendor and he said it either went out last Friday or this Tuesday. Seems like an honest enough guy, so I’ll give it another week before I chalk it up to the USPS or Canada Post losing my stuff.

Have to finish my Christmas shopping today. So much for that one-day swoop I’d intended a couple weeks ago.

Having a bit of a Waterloo class reunion tonight. The excuse is that Yolanda is back from Cambridge (UK) for the holidays and is in town. Should be fun, there’s people coming who I haven’t seen since graduation. I figure after three years, we might actually have something to talk about. For a few minutes, anyway.

np – Starflyer 59 / Easy Come Easy Go

Peter Jackson has said from day one that The Lord Of The Rings isn’t intended to be three separate movies, but one nine-hour epic, just as the source material wasn’t meant to be three novels, but a single tome. What this means is that taken on its own, outside the context of the other two films, The Two Towers had some built-in disadvantages that it would have been impossible to avoid. For example – there is no proper beginning or end, as you’d expect in a conventional film. You’re dropped into the middle of a story and three hours later, extracted again, so while the interim is exhilirating, you will likely leave with a curious sense of dissatisfaction that extends a little beyond the ‘I want to see what happens next!’ phenomenon. Also, you’re no longer marvelling so much at how convincing all the actors look in their roles or the still-breathtaking New Zealand vistas. The audience will now take all that for granted and demand a new set of marvels.

But this is not anyone’s fault, and I’m even hesitant to call it a flaw – it was unavoidable and will cease to be an issue as soon as it’s possible to see all three films as they’re intended in a single viewing. It’s just one of the reasons I’m unable to call The Two Towers a perfect film.

But there’s other reasons, too. I’m not one of the purists who goes trainspotting to pick out where Jackson strays from the source material (and be warned – in The Two Towers, Jackson takes far more liberties with the original storyline than he did in Fellowship). The books are the books, the films are the films. They’re not the same thing, nor could or should they be. If you want the book, go read the books and if you want a 100% faithful adaptation, get behind the camera and make your own. This is Peter Jackson’s vision and I for one think he’s done a bang-up job. In fact, I would say that the purists should thank Jackson for making some changes from the original text, because it reintroduces that element of ‘what happens next?’ that is crucial to good films – knowing exactly what happens next can’t help but diminish one’s enjoyment of a film. That said, The Two Towers stumbles precisely where Jackson strays from the books the most.

I don’t mind that Arwen’s role has been ratcheted up considerably, nor that the Eowyn-Aragorn-Arwen love triangle is being made a greater focus in the story. That human element, which can sometimes be missing from the book, makes for more engaging cinema. However – there is a middle sequence of scenes that was just a clumsy melange of flashbacks (to scenes implied in Fellowship), dream sequences and narrative exposition that left me scratching my head as to exactly what was happening. Did this happen or is it imagined? Elrond was looking sternly at Arwen, and all of sudden he’s looking sternly at Galadrial? Is Galadrial talking to him or doing voiceover again? Etc etc.

I think the gist of these scenes could have been better conveyed. A final complaint about Faramir, who is stripped of the nobility that made his character distinct from his brother and redeemed his house. Maybe they’ll rectify this in Return Of The King, at least I hope so.

So those are the criticisms. Now the good stuff – the film is as spectacular as the first, if not more. It’s true, the film is mostly a series of extraordinary battle scenes, but the necessary character development still comes through. Gollum is a remarkable piece of CGI, though unlike some others I never really forgot I was looking at a piece of computer-generated animation (though the integration of the motion capture eliminated most if not all of my usual complaints about fully computer-generated animation – namely, the unnaturalness of movement). What was most impressive about Gollum was the effectiveness of Andy Serkis’ acting beneath all the technology. His performance more than any special effects is what makes Gollum real. The ents were fantastic. Helm’s Deep was… beyond extraordinary. The new standard by which epic battles on film will be measured (are you paying attention George Lucas?).

Without getting into any (more) spoilers, it’s probably worth summing up that The Lord Of The Rings – all nine hours of it – will be a far greater whole than the sum of its parts. Considering how bloody amazing those parts are, it’ll be something to see in its entirety.

I have little doubt that Return Of The King will be my favorite… even in the books, I preferred Minas Tirith to Helm’s Deep.

I have to wait HOW long till it comes out?!?

np – Longwave / Endsongs