I have Glimpsed Heaven: Paul Simon @ The Showbox at the Market, Seattle WA, 4/17/11

We arrived at the box office early. They passed out wristbands, one blue, and most importantly for your Crippled Correspondent, one orange ADA wristband... We dined at the pub inside the theatre, I had to use the weirdest lift I've ever seen to get down to the dining area, a flat platform that flipped-out over the stairs.... It took a long time to figure out how to make the return trip, I thought for one horrible moment I was stuck downstairs.  They got it working, and awhile later they asked people wearing the ADA wristbands to come forward. I couldn't resist, I said "ADA, the three sweetest letters in the English language." The crowd laughed.

We entered the showroom, I'd say its closest Oregon equivalent would be The Crystal Ballroom in both layout and vibe, funkiness combined with old-world class-- there was a beautiful chandelier.... Best of all, there was an open-floor, which meant that I got to park my lucky butt front-and center!!!!!!

Simon's set began slowly, "Boy in the Bubble" seemed a little more down-tempo than usual, a good stylistic choice to match the intimacy of the venue, I thought. He did a cover of Jimmy Cliff's "Vietnam" and told us that it was what inspired "Mother and Child  Reunion." (Only a genius like Paul Simon could combine a reggae  protest-song with a Chinese restaurant menu item and come up with "Mother & Child Reunion.") He played the two songs back-to-back and by-God, we mere mortals could glimpse the influence...... He also covered "Mystery Train" and I was hoping he'd stay with the train-theme and play "Train in the Distance", but alas. However, he did play "Hearts & Bones" and ripped my soul in half.

He mixed in some cuts from his new album, "Dazzling Blue" and "So Bueautiful or So What" and they sounded even better live.

Then he tore the roof off with "Diamonds on the Shoes of Her Shoes" and "The Obvious Child." "Obvious" transported me somewhere else, it was like an out-of-body experience....

 There is no way I can recall all of the twenty-odd songs he played that night. "Sound of Silence" "That was Your Mother" "Still Crazy" and "Crazy Love Vol. II" were among them.... I'm still not over the high of repeating a front-row experience I haven't had in twenty-one years (!) He is a master, that's all I can say.....

I Worshipped at The Church of Rock & Roll: Amos Lee @ The Crystal Ballroom 1/21/11

Between this post and my last one: "Praise Be to The Concert God" I run the risk of over-using religious language.... Well, that's I risk I'm going to have to take, because I have come to believe that live music is indeed akin to a "religious experience." A musician has the ability to connect your soul to his, and you share a transcendent feeling....

I feel that way at every Amos Lee show, I've been to so many I've lost count. I have been to every formal performance in Portland, (and even a few radio sessions) ever since seeing him open for Bob Dylan in '05. However, Friday's show at The Crystal Ballroom was by-far the best.

Amos Lee's new album, "Mission Bell" will be released this Tuesday, the 25th. I believe it is his best offering yet, and its Gospel-infused songs certainly contributed to the jubilant Church-like atmosphere.

Friday's performance held particular significance for me personally. Weeks ago I posted a photo of Amos & myself on his Facebook page, with a caption asking him to please sing the Paul Simon songs he had sung at The  Brooklyn Academy of Music tribute show. On the night of the concert I ran into Amos's drummer, Freddie Berman, who recognized me from previous performances, he told me that he had seen the caption and would "put in a good word" to Amos.

Sure enough, the first song of the encore was a soul-stirringly beautiful version of "Peace Like a River" I hope from the bottom of my heart that he will record that song, along with "Homeward Bound." (The other song from the BAM tribute is "Nobody", and it is included on an I-Tunes exclusive EP.) It too is wonderful beyond description. Hearing the words of one hero in the mouth of another is truly something to behold.

The night was unforgettable, I will treasure it forever.

Praise Be to The Concert God: Dylan & Mellencamp @ The Edgefield

When it comes to the existence of God I am a skeptical agnostic. However, after Bob Dylan’s show with John Mellencamp I am now a devout believer in “The Concert God”

The wheelchair section at the Edgefield turned out to be hideous. It was way too far back and not elevated at all. So, we decided to get as close as we could to the front. The spot we found was perfectly fine for the opener, but as soon as Mellencamp came out, nearly everyone stood, and thus blocked my view entirely.

Being the intrepid concertgoer that I am, I fought my way up to the stage. The best I could do was peer through the slats of the speaker tower. I was almost thwarted in my efforts by a very stupid woman who was waving a blanket for no apparent reason, right across my sightline. This was the first time The Concert God showed His mighty power because the woman inexplicably moved on.

At first the security guard hassled us, but after we explained exactly why we were there, he suddenly became my very best ally. He dutifully shooed away anyone who dared inch toward my hard-won vantage point. Was this yet another divine intervention by The Concert God ? I think so! Mellencamp was incredible. His set brought a wonderful end to the quest of fulfilling my “Bucket List”.

Bob Dylan moved center-stage, and suddenly my view from the slats went from not-so-great to completely useless, and so began our trek all the way around the venue, hampered by terribly rough terrain. We found an OK spot that provided a wide view of the stage. Dylan’s set was amazing, as always. Still, I was annoyed at having to trudge through a throng of people -twice- just to eek out a pretty poor view, especially considering the beautiful wheelchair seating at the outdoor concerts held by The Oregon Zoo.

I decided to write a brief note of complaint to The Edgefield about the location of the wheelchair section. I barely held-out hope for a response, let alone one that was nearly immediate, but that is what I got, (along with an offer of two tickets to the following night’s Dylan/Mellencamp show.)

This time we got right up front, but even then it was difficult to see when everyone gathered around the stage, and it was on this night that The Concert God showed the full range of His boundless strength. The security guard for this night was a young guy, not like the very old man from the previous night. He actually folded-up his own chair and told me to angle into his spot… This meant I had an absolutely perfect view of both Mellencamp and Dylan’s shows. Which leaves me with only one way to describe what happened: With The Concert God, all things are possible…..

"Brooklyn's Finest"

I loved a film called "Training Day" and I have spent a lot of time trying to find a worthy follow-up from any member of the creative team. First I looked into the other films of director Antoine Fuqua, only to find a long string of duds. Then I started to follow the screenwriter David Ayer, quickly finding the same. Now with "Brooklyn's Finest," Fuqua returns to the corrupt cop drama with a new screenwriter and it is the film that has convinced me to stop waiting for lightning to strike twice.

"Brooklyn's Finest" tells several stories, only one of which goes in an interesting direction. It is no coincidence that this plot-line requires the least amount of set-up. Most of "Finest" is unbearably slow and the sole element that sets the last thread apart is an undeniably suspenseful final scene.

American cinema and television has many fine entries in the police-corruption sub-genre: "Serpico", "Prince of the City" (both directed by the brilliant Sidney Lumet), "The Shield", and of course, "Training Day". Each of Fuqua and Ayer's films show that the greatness of "Training Day" was entirely due to the acclaimed performance of Denzel Washington, and he has the Oscar to prove it.

'Shutter Island"

'Shutter Island" is a beautiful, haunting, densely layered thriller by an American master. It is a gorgeous, grotesque, mad symphony of a film. It is a spell-binding journey down an exceptionally twisty rabbit hole.

I spent much of the film patting myself on the back because I thought I had deciphered a major plot point due to a couple of telling shots. I would soon discover that although I was correct, it was but a tiny piece of an intricate puzzle. Soon I would pay for my premature self-congratulation, the end of the film contains a key subtlety that I sadly admit I missed. This final revelation which passes in the blink of an eye, and requires a finely-tuned ear elevates the film from a excellent genre piece to a film so nuanced it demands repeat viewings to fully explore its depth.

"Everybody's Fine"

I approached "Everybody's Fine" with trepidation. I have a fondness for the original and the director of that film is best-known for "Cinema Paradiso," one of my very favorites.

I read two reviews prior to attending. The first review contained a long discussion of the difference between sentiment and sentimentality, this seemed to confirm my worst fears that they had transformed the somber tale of long-told lies into a typical 'home for the holidays' movie, as indicated by the trailer. The second review said the film was a 'victim of marketing' and I wholeheartedly agree with the latter assessment. Whoever put together the trailer should be shot, not only because it is so misleading, but also because it is an insult to both films. I can't fathom what they hoped to accomplish, audiences looking for holiday escapism will find its polar opposite, and those who enjoyed the original may avoid it entirely, fearing its ruination. One of the characters is an advertising executive and she remarks that clients pay her to "be economical with the truth", it's an apt summation of what is going on in the film, and I could imagine something similar being said as a rationalization for the trailer.

This version was written and directed by Kirk Jones, who made "Waking Ned Devine", the kind of film that demonstrates Jones would be equally capable of producing a lightweight comedy or a drama, further muddying expectations.

"Everybody's Fine" is a respectful and respectable remake, and one hopes that it will help spur the DVD release of the original.

"The Box"

"The Box" is written and directed by Richard Kelly whose debut feature was the nearly indecipherable, but ceaselessly interesting "Donnie Darko." He followed "Darko" with the equally indecipherable and completely uninteresting "Southland Tales." (To add insult to injury, "Southland" starred The Rock.) With these two films in mind, I was quite confident in my assumption that Kelly's penchant for impenetrable narratives was to blame when he takes the audience on an extended sojourn to what I can only guess was a version of purgatory. To confirm my suspicion that Kelly was unilaterally tacking on extraneous nonsense, I read Richard Matheson's short story and viewed the 1985 "Twilight Zone" episode from which "The Box" takes its inspiration. How right I was. Some of the best-looking scenes in "The Box" have absolutely no business being there. To be fair, not all of Kelly's additions are terrible. There are many apt references to Jean-Paul Satre's play, "No Exit." (I just happened to attend Imago Theatre's inventive production days later.) Kelly should know when to quit, he already had plenty of story to work with, given the tantalizing choice at the center of the film, and a perfect performance by Frank Langella. Instead, Kelly drowns the film in a sea of self-indulgence. Shame on him!

"The Men Who Stare at Goats"

"The Men Who Stare at Goats" is one of those films which reveal the funniest moments in the trailer, moments like the one that inspired the title. George Clooney stares with hilarious intensity at a goat and manages to stop its heart. By the time that bit rolls around, you start to envy the goat.

It is true that what humor there is in "Men Who Stare at Goats" reminds one of a low-rent Coen Brothers imitation, but even that seems like undeserved praise. Jeff Bridges tries to channel "The Dude" from "The Big Lebowski" in his portrayal of a man trained in New Age techniques, but fails miserably. You'd be much happier renting "Lebowski" or better yet, making the trip downtown to Fox Tower to see the Coen's newest outing, "A Serious Man". Go for the real deal, accept no substitutes, especially one this poor.

"Where the Wild Things Are"

In "Where the Wild Things Are" Spike Jonze has created a dreamscape so vivid and expansive that you wish you could visit. That's not to say that everything is peaceful in this land. There are some scenes that mildly frightened me, so I would advise caution when bringing little ones. (It seems that if a ruler of the Wild Things displeases his subjects, their next meal is served -ahem- ala King.)

Other critics have referenced recent live-action Seuss adaptations, "The Grinch" and "Cat in the Hat," usually with the prefix, "much better than", but then they proceed to say that the expansion to feature-length has still served to undercut the power of the source material. It is true that "Cat in the Hat" was nothing short of a desecration, and "Grinch" was mediocre and what's worse, completely unnecessary given the enormous shadow of Chuck Jones' animated classic. Still, to mention "Wild Things" in the company of those films seems a bit like comparing "Citizen Kane" to "Harold & Kumar go to White Castle." I believe that "Wild Things" is not only the antithesis of the Seuss films, it may well be the antidote. If an adaptation can not match the imagination and reverent care of this film, then the project should be scrapped.

The casting is ingenious, it is wonderfully disconcerting to hear the voice of Tony Soprano emanating from something that is almost cuddly despite his destructive rage. Max is played by Portlander Max Records, who imbues his character with surprisingly deep anger. The Wild Things themselves are brought to life by Jim Henson's Creature Shop, and I predict an Oscar win.

"Where the Wild Things Are" is beautifully photographed. Honestly, if the characters had done nothing but continue their Wild Rumpus throughout the length of the film I would have been satisfied, but they do much more. It is a film that encourages introspection, and one of the few that gives younger audiences the credit they deserve.

Note: I saw this film in the IMAX at Bridgeport and that it is the way it should be seen. Make the trip from wherever you are, you will not be disappointed.

You May Also Like:

"Adaptation" (Also directed by Jonze)

"Animal Farm" (1999 version also featuring the work of Jim Henson's Creature Shop)

"Being John Malkovich" (Also directed by Jonze)

"Paranormal Activity"

The buzz that preceded "Paranormal Activity" was deafening. There were tales of unexplained happenings, such as Steven Speilberg's door locking on its own after a screening. Does "Paranormal Activity" live up to the hype? Yes, it does. That being said, you do have to go in with the right mindset. There is virtually no violence or gore here, "Paranormal Activity" provides its scares with a masterful use of sound effects. Is it the scariest movie ever made as some have declared? Well, I guess that depends on what scares you the most. If your worst fear is to be haunted by malevolent spirits, then this film is a vivid realization of your nightmares. For the rest of us whose fears are a different sort, "Paranormal Activity" still has the ability to burrow deep beneath your skin if you let it.

At first I felt kind of cheated that I was not able to attend a midnight screening and had to settle for one with a sparse audience on a weekday afternoon, I had read that being with a large group of spectators enhanced the experience. I think it is actually better seen with fewer people, because the film is not about sharing a scream with the auditorium, it is about the gradually increasing sense of dread, and that is a solitary experience localized entirely within your own brain.

For those who haven't seen it, I can think of no better way to spend Halloween night....