Sports: 2011 NBA Playoffs

Sports: 2011 NBA Playoffs

It's my favorite time of the year for sports: the beginning of the NBA Playoffs!!! This year is full of promise, and one of my favorite sports writers Bill Simmons (aka "The Sports Guy") believes it could be the best playoffs in over a decade. The primary storylines seem to be the big guns in the East (Chicago, Miami, Boston, possibly even Orlando) and the unpredictable West (with Denver, OKC and Portland all looking very dangerous). You also have the Knicks finally back in the playoffs, every real sports fan rooting against the Heat, and the Lakers going for another three-peat (which would be Phil Jackson's fourth - simply astounding). Without further ado, here are my picks for the whole thing, round-by-round, with some commentary:

Round 1: East

Chicago Bulls over Indiana Pacers (4-0)

The Pacers have an interesting roster, with a number of young players (led by Danny Granger, Darren Collison - who filled in so well for Chris Paul last here on New Orleans, Roy Hibbert, and even Tyler Hansbrough) who could form a nice nucleus for the future. But the Bulls are just plain superior in every way. Chicago's defense should suffocate Indiana to the extent that there's no hope at all for an upset.

Orlando Magic over Atlanta Hawks (4-0)

I hate the Atlanta Hawks. They resigned their best player to a ridiculous 6-yr contract, and the guy averaged 18 ppg this year. They have had loads of talent for several years now, and always get swept in either the 1st or 2nd round of the playoffs. I hope they get destroyed so badly that the ownership finally realizes "hey! this isn't working!" The good news is, Atlanta lost their last six games of the season, while Orlando has quietly been looking pretty strong. The Hawks won 3 of 4 between the two teams this year, but Atlanta is great at shrinking in the playoffs.

Boston Celtics over New York Knicks (4-2)

This is the matchup everyone in the northeast is looking forward to. A lot of people are whispering of a possible upset here, but I don't think the Knicks have a shot at more than 2 wins here. Carmelo, Amare, and Chauncey give them a great start - but the rest of their team is pretty weak. Boston has not been the same without Kendrick Perkins; most significantly, Rondo has fallen apart. But their playoff experience and pride, not too mention chemistry, is way too much for this new Knicks group.

Miami Heat over Philadelphia 76ers (4-1)

Philadelphia has been quite a surprise this season. Led by the unspectacular duo of Elton Brand and Andre Iguodala, they have overachieved under new coach Collins. But you need at least one potent weapon, either on offense or defense, to beat Miami. The Heat have really started to click in the 2nd half of the year, most notably giving the Celtics quite a drubbing. I think Philly could get a game here, but mostly because Miami will realize how much better they are and will take their foot off the gas for a moment.

Round 1: West

San Antonio Spurs over Memphis Grizzlies (4-2)

Now things get interesting. Both these teams were a LOT better this year than expected. Both are also dealing with injuries to key players; however, the Spurs will have theirs back soon, while the Grizzlies will not. If Manu were fully healthy, I wouldn't have the Grizzlies getting 2 wins, but I can see Memphis stealing another one while Ginobili gets back to full strength. I have not seen Memphis play at all this year, so I'm looking forward to watching what they can do in an actual game.

Oklahoma City Thunder over Denver Nuggets (4-2)

This could be the most exciting series in the 1st round of the playoffs. Both teams are very young and athletic, and the games will likely be pretty high-scoring. Unfortunately for Denver, they probably just don't have quite enough firepower, and aren't as good all-around as OKC. Durant and Westbrook are a scary combo. The Nuggets will make the Thunder earn their first postseason series victory, but earn it they will.

Portland Trailblazers over Dallas Mavericks (4-2)

The Blazers' bandwagon is getting so full it's probably about to fall off its axel. However, it's not hard to see why: they have a load of talent, and they've shown they can beat the league's best teams. The frontcourt combo of Aldridge and Wallace is scary, and while Brandon Roy is no longer a consistent star, he has his moments. Dallas was the team all the lower West seeds wanted to face; this is because they're basically just Dirk. Chandler has been playing pretty well, as has Terry, but it just seems like Portland has superior talent. We'll see.

Los Angeles Lakers over New Orleans Hornets (4-1)

My Lakers could not have asked for a better 1st round matchup. They dominate New Orleans even when David West is healthy, which he is not. Hopefully, this series will allow L.A. to get into the kind of rhythm that has won them two straight championships. Bynum's health is the most critical concern, but I also want to see Artest get back to his playoff form from a year ago and make sure Kobe can still take over the end of a game like he always has. They'll probably drop a game here because, well, they're the Lakers.

Round 2: East

Chicago Bulls over Orlando Magic (4-2)

Both teams may have a bit of a shock in the increase in competition over their 1st round foes. Orlando has played Chicago well this year, and Howard, as he does for just about every team, poses a matchup problem for the Bulls. But Chicago has such a disciplined defense that they will be able to shut down Orlando's perimeter shooting most of the time. For Orlando to have a chance, Jameer Nelson needs to make Rose work hard on defense, and also provide some scrappy defense of his own.

Miami Heat over Boston Celtics (4-3)

This is a matchup so many fans (including myself) are salivating over. Boston seemed to be in firm control of this matchup for the first 3 games, and then at the end of the season Miami just whalloped them. Rondo must must MUST make Miami pay for not having a decent point guard, and create offense for his entire team. It's quite clear that LeBron and Wade have significant advantages over their aging counterparts, Pierce and Allen. Still, Boston will not go down until every last drop of blood (er, sweat) has been spilt.

Round 2: West

Oklahoma City Thunder over San Antonio Spurs (4-2)

This is quite a tough one. The old guard, San Antonio, has done everything they can to stay not only competitive but in the upper echelon, despite their age. But I think that with the added toughness of Perkins, the Thunder now have more than the Spurs can take. San Antonio's defense is not what it used to be, and now they are facing two elite scorers, not to mention a very solid supporting cast in Ibaka, Harden, etc. I wanted to talk myself into the Spurs here, one of my favorite teams, but I just couldn't do it.

Los Angeles Lakers over Portland Trailblazers (4-3)

A LOT tougher matchup for the Lakers here. L.A. has had a lot of trouble playing in Portland, as far back as the Shaq era. That means they must make sure to hold serve at Staples Center, and there will be some very tense moments I predict; they may even have to steal a game back in Portland. Ultimately, I think the Lakers' experience, with Gasol and Bynum having fought so many wars against the Celtics and Kobe not facing any elite defenders, will get them by in a tough series.

Round 3:

Chicago Bulls over Miami Heat (4-3)

Another great series in the East. This is where (I hope) the Bulls will show that the superior team will overcome superior star power. Plus, Chicago may be able to play with a bit of a chip on their shoulder, after Wade and LeBron turned them down last summer. I think LeBron and Wade's teammates (especially the cowardly Bosh Spice) will shrink against the Chicago defense, and leave them in a Butch Cassidy situation. Fortunately, what I hope for and what I believe will happen are aligned here.

Oklahoma City Thunder over Los Angeles Lakers (4-2)

Unfortunately, my hopes and what my brain is telling me are not the same for this series. Once again, I think it will be the Perkins addition that will get the Thunder over the top. He will be able to disrupt the Lakers' big men enough so that the Thunder can simply outscore them. And that they can do, because the Lakers have no answer for Westbrook, and I'm doubtful that Artest can guard Durant again this year the way he did last year. Here's to hoping I'm wrong.

Championship:

Chicago Bulls over Oklahoma City Thunder (4-3)

This should be an awesome championship series. I think it comes down to the Bulls' defense once again, and just being able to do all the gritty things required for victory. Derrick Rose will show his ferocious determination to win, one that will take even an inspired Durant by surprise. One hunch that I have, even if this series goes the other way, is that unexpected players on both teams are going to be thrust into more important roles than they're used to. But regardless, my prediction is that the Chicago Bulls will be the 2011 NBA Champions.

Music: Revolver (The Beatles)

Beatles Album #7: Revolver

Well, I guess we know why the number 7 is considered such a luck number. The Beatles waited a long time (by their standards) after Rubber Soul - eight months - to release Revolver, in August 1966. Rubber Soul was a big shock to the music industry: not only had The Beatles' music evolved significantly in a very short time frame, the level of quality throughout the album was stunning. Revolver just completely flipped it upside down. The variety of musical styles here make Rubber Soul look pedestrian in comparison, and the quality is even better. Many argue that this represents the height of pop music achievement in the 20th century. It's not hard to hear why.

1. "Taxman" (Harrison)

This track makes it immediately and obviously apparent that this is a Beatles album like no other before it. George kicks it off with a gruff, breathy 1-2-3-4 with the band warming up behind him, then a harsh guitar jumps in and Harrison is singing along in a very non-"She Loves You" style. This is a favorite track for many Beatles fans, although I'm not nearly as big of a fan. It's a good song, and shows George's continued improvement (see: Rubber Soul) as a songwriter. The Beatles give a superb performance all around, but from Rubber Soul on this is like saying it's cold in Michigan in the winter. George's vocal and harsh guitar form a great combo, and John and Paul add some fantastic harmony. The only thing that holds me back is that it's not my favorite melody. Still, a great opening track.

2. "Eleanor Rigby" (Lennon/McCartney)

It's hard to blame people for calling this song "Yesterday, Part 2"; although as iconic and great as that standard is, this song is even better. Starting off with the famous bridge ("ahhhh, look at all the lonely people!"), Paul kicks in with more emotional umph than we've come to expect from him. As he starts in with the verses, Paul gives one of his finest vocal ballad performances - which is saying quite a lot. It's restrained, yet powerful. George Martin's string arrangement is sheer genius, and it is impossible for me to imagine a more perfect accompaniment to Paul's amazing vocal. The melody here is just so gorgeous, something Paul does effortlessly, and The Beatles keep it to a sweet 2:07. Just so good.

3. "I'm Only Sleeping (Lennon/McCartney)

Lennon kicks right into his first track of the album, which is also the first to introduce one of its more prominent, mystical themes. The song lilts along pleasantly, accurately giving the effect of the title. I believe this is one of the first times John really begins to experiment with his vocal style - again, well-matched to the album's theme - and it's very effective here. The instrumentation gives a hint of foreboding, but this is offset by a very sweet backing harmony from the band. Ringo's shimmering cymbals and other percussion also lends to the atmosphere. The melody really just blends into this atmosphere, and so does not stand out but is quite good anyway. A good track that is a perfect fit on this album.

4. "Love You To" (Harrison)

And already George has his second song on the album! He continues the mystical theme by playing a sitar intro; when the main part of the song starts, the backing band is made up of Indian-style instrumentation, most notably the sitar and the drums. George sings this almost as if he is in a trance, and like John in the previous track, it's a perfect fit. When he hits the extended note "meee" and is joined by John and Paul, it sends shivers down your back. The sitar gets plenty more solo work throughout. I can't imagine how shocking this track must have been to people back in 1966. It doesn't get mentioned a lot, but this one, like "I'm Only Sleeping," is a good track that's a perfect fit for the album.

5. "Here, There, and Everywhere" (Lennon/McCartney)

Now for a slight change of pace. Er, should I say, HUGE. Paul drops back into the album here with his gentlest, softest, and one of his loveliest ballads. Backing harmonies from the band bring earlier Beatles to mind, but Paul's writing is now far beyond those days. Although more powerful than the writing is his vocal, which is almost impossibly high on the register (no auto-tune back in the day, though!). The lyric, as a friend once pointed out to me, actually has a bit of a theme that runs through other Beatles songs (like "If I Fell") of a rather possessive individual belying the gentle music. No matter: this is simply a gorgeous song, and all you need to do is listen to a couple pretty lyrics here and there and drift off with it.

6. "Yellow Submarine" (Lennon/McCartney)

This song is a bit like "Yesterday". I know, they sound nothing alike. But sometimes it can seem like they're just so huge in the public consciousness that the music itself is not up to the reputation. The way I've finally come to grips with this song is to try to block out that huge popularity (and really?!? This song?!? When there are SO many better Beatles songs?) and just remember that this is a Ringo song. When I think of it like that, yeah, it's a pretty damn nice song. Ringo gives a perfectly nice, pleasant vocal, and there is a good enough back part along with miscellaneous effects that the repetitive chorus doesn't have time to get too old. But I never want to hear anyone say that this is their favorite Beatles song. *Shivers*

7. "She Said She Said" (Lennon/McCartney)

Here's another really nice song that doesn't get mentioned a lot. I think we have a great combination of elements from the album, as well as symbols of the band's overall evolution. The thing that strikes me the most is the neat rhythm, led by Ringo's fantastic drumming. Also, we have a return of George's harsh sounding guitar (though not as extreme as on "Taxman"). And John shows his amazing ability to be brilliantly unpredictable in his composition; there are several tempo/rhythm/style changes that I did not expect but fit so well (just wait until the White Album). More fantastic harmonies from the band. Great song.

8. "Good Day Sunshine" (Lennon/McCartney)

At this point, we seem to have a pattern of George and John setting the album's theme, and Paul spicing things up with some brilliant songs (even though they don't match the theme). "Good Day" continues this pattern. Here we have our first piano-driven song on the album; in fact, I don't think there's any guitar at all. I can't think of too many comparisons, but it seems like something you'd get if you threw "Here, There and Everywhere" into a blender with a "Drive My Car"-type rocker. The verses are very care free, with some honky piano parts thrown in. The chorus seems like it was taken from the rocker and toned down, with some great echo effects at the end of the song. Not the strongest on the album, but a good diversion.

9. "And Your Bird Can Sing" (Lennon/McCartney)

This is actually one of my favorite straight ahead rock songs from The Beatles. Coming in at an efficient 2:02, "Bird" features more of George's heavy, harsh guitar playing that fits perfectly here, and he has a great intro lick. Lennon has a good lyric, driven by George's insistent guitar, then we get to the bridge and... George's guitar continues to lead. Wow, I didn't realize just how good it was in this song. Lennon gets credit for a good composition here, and Paul adds a great harmony, but it's George's guitar that really shines. It feels almost like they just kind of tacked this onto the album, but it is one hell of a tack-on if that's true.

10. "For No One" (Lennon/McCartney)

I've loved this song since the first time I heard it. This is probably the perfect song for a love that has just been broken. The melody provides plenty of regret and longing, but the backing instruments keep it from lulling into a depressive state. And what a simple yet gorgeous melody it is (it's Macca, what do you expect?!). The backing instrumentation is just great, with Paul playing an old-fashioned sounding clavichord, and then the keynote, a mournful yet bright French horn. This track is actually exactly as long as the previous one, despite the obviously huge musical differences. Back to my original point, this song is great in that it allows one to reflect on past feelings, yet emerge with a strange sense of hope. Sheer genius.

11. "Doctor Robert" (Lennon/McCartney)

*Frown* This is where Revolver comes closest to sounding pedestrian, and perhaps even worse. Yes, John, we know that you've started taking LSD; you don't need to write a song about your supplier. Really, the subject matter would only be an annoyance if it was incorporated into a cool song; but instead, John came up with the barest of vehicles for his lyrics. There is just not much going on here, at all. The guitar work here is probably the highlight (both John and George, I believe). This is the only song on Revolver I've ever skipped (OK, sometimes I skip "Yellow Submarine" too, if I have a headache).

12. "I Want To Tell You" (Harrison)

Not to fear, however, because George is here to get the album back on track. Once again, it's probably the combination of elements that makes this such a great track. George continues with his no-nonsense writing and vocal style - but this time, the main supporting instruments are a driving piano (I LOVE this) and Paul's bass. When George's guitar comes in, surprisingly it no longer has the harsh edge to it. George carries the vocal by himself for most of the song, but when John and Paul come in to back him up, it's brilliant. When I think about it, the composition is not really that strong, but the instrumental and vocal work is so superb here it more than makes up for it. George saves his best for last on the album.

13. "Got To Get You Into My Life (Lennon/McCartney)

Now we have a song that is only one of my three favorite Beatles songs. You know, nothing much. The first thing I have to say about it is that it has such a positive, uplifting feel to it. The guitar has an even smaller role here than the last track (but its debut is a brilliant touch). The song is driven by Paul's bouncing bass (again) and a section of feisty horns (TRUMPETS!!! and those other things... oh yeah, saxophones). I absolutely love Paul's composition here, and his vocal style is perfect for it. No, it isn't his achingly beautiful ballad voice nor his strong rocker, but that intense, lower register style that rises majestically when called upon. The verses build the anticipation wonderfully, and the pay off with the title unleashed is perfect. I even pay attention to the lyrics here! Just. So. Awesome.

14. "Tomorrow Never Knows (Lennon/McCartney)

And now, to conclude the album, we have perhaps the most perfect transition song of all time. Lennon busts out his acid-y style for the first time, and if "Love You To" knocked people's socks off, this one must have sent them through the roof. Sound effects abound, in an affectingly creepy, mysterious, sometimes haunting way. Ringo's drumming keeps the song humming along quite well, and Lennon chants the lyrics very much Harrison-style. There isn't a whole lot of variety, musically speaking, but the quick tempo and well-done sound effects keep it fresh and interesting (plus John's vocal goes through various distortions). This is The Beatles teasing, "what are we gonna give you next time?!"

Essentials: "Eleanor Rigby", "Got To Get You Into My Life", "Tomorrow Never Knows", "For No One", "I Want To Tell You"... for heaven's sake, get this album!!!

Weak(er) Songs: "Doctor Robert"

My Rank of The Beatles Albums So Far:

1. Revolver

2. Rubber Soul

3. Help!

4. A Hard Day's Night

5. Please Please Me

6. Beatles For Sale

7. With The Beatles

Movies: Paul

Score: *** out of *****

Long Story Short: Paul is a fun film, with a positive, bright mood that is refreshing. It will have you laughing or at least chuckling quite a bit, especially with a friend, and there are some nice casting choices and performances. However, I would not recommend solo viewing due to the nature of the humor, and there's simply not very much that stands out. Take it (with a buddy) or leave it.

Ah, now I'm back on track! I'm back to my usual once-per-week blog posting, and I hope that will continue for awhile now. It'll be mostly a mix of music and movie reviews, but I may have a March Madness summary post, and I'll certainly have an NBA Playoffs preview. Anyway, Paul was released in theaters last weekend, and was directed by Greg Mottola (Super Bad). This is another comedy semi-spoof movie starring Simon Pegg and Nick Frost (their similar films include Shaun of the Dead and Hot Fuzz).

Paul starts off by showing the vacation/road trip of Graeme (Pegg) and Clive (Frost), a pair of British adult dorks who attend Comic-Con and then to travel Southwest USA's UFO landmarks such as Area 51 and Roswell in an RV. The two are obviously long-time friends, and in fact are mistaken as a couple several times. On the road in the middle of nowhere, the friends stumble upon Paul (Rogen), an alien who is being chased by mysterious bad guys. One agent (Bateman) is on the chase immediately, aided (more like hindered) by two local cops (Hader and Truglio).

Graeme, Clive, and Paul attempt to hide out in an RV camp, where they meet Ruth (Wiig), a member of a strict Christian family; Ruth is soon pulled along with the gang. On the way to a spot where Paul hopes to be picked up by his fellow aliens, they stop at the home of a young girl who witnessed Paul land in the first place, as well as get chased through a small town. When they finally reach the rendezvous point, the showdown with the mysterious bad guys commences, and Paul makes use of his special powers.

As you can probably tell, the plot of this film is not too important; the focus is much more on the characters. Pegg and Frost do a great job in the beginning of the film, portraying dorky yet genuinely close friends (which they are in real life, I guess, so it probably wasn't too difficult to do). As Paul and Ruth come in to the picture, they develop some other interesting, decently executed, if somewhat cliched webs of friendship and tension. Rogen (the second movie I've "seen" him in already this year) is a great choice for the voice of Paul, a sarcastic, rather rude, but also good-at-the-core alien. Kristen Wiig, who I've always felt does a great job on SNL, is also a very nice choice for Ruth, a shy, rather awkward conservative woman who gradually learns to loosen up a little (or a lot). I also love fellow-SNL member Hader, in a movie role he is by now quite familiar with; Jane Lynch ("Glee") and David Koechner (Anchorman) have brief but amusing roles, and there are several more cameos as well (big one at the end).

Paul combines elements from a number of different movie types. The general warmth of the film and happy ending is sort of like a family comedy, but the humor (and language) is way too raunchy for that. It spoofs a lot of sci-fi franchises (probably a lot more than I even noticed), but the spoofiness is far from the focus of the film. It is a decently funny movie, with a couple of laugh-out-loud moments, but most of the laughs come from the minor characters and Paul's tricks; Pegg and Frost seem to just be the supporting structure around which, rather than at which, the humor is based.

***

Paul is a fine movie; I saw it with a friend in the theater, and if you go to see it, I suggest you do the same. This is because the best aspects of this movie are the type of humor that it's fun to laugh at with your friends, but by yourself you would probably find less funny. And this also distracts you enough from the fact that there is not much creativity here. Yes, there a few memorable scenes, but there's a bit too much that you could just step out to go the bathroom and instinctively know what you've missed. As I say, there are some nice touches in Paul, but see it with a friend(s), or watch something else.

Music: Steady On (Shawn Colvin)

Album Review: Steady On by Shawn Colvin

Shawn Colvin is another artist that I have grown up with, and listening to her music instantly makes me think back on earlier days. Thus, I'm more partial to her music than most people would be. That said, Shawn Colvin is an incredibly gifted musician by any measure. She has phenomenal vocal abilities, able to convey anything from a tough rocker to a sweet little girl - sometimes all in the same song. Her songwriting is quite strong, and the instrumentals are quite interesting and solid in quality. She is apparently categorized as both rock and contemporary folk. This album, Steady On, was her first, released in 1989. All tracks were written by Shawn Colvin (some with the help of John Leventhal).

1. "Steady On"

We start off the album with the title track here; unlike with many of the albums I review, this opening track is not either an obvious single or upbeat number. It does, however, set the tone quite nicely for the rest of the album. Which leaves the task of describing what exactly that is... sadly, I am not a music theorist and this is significantly different from a lot of other music I like (The Beatles, Coldplay, etc.). I suppose I will have to be pretty impressionistic about the music here, since I'm obviously failing at specifics. To me, the feel of this song is like going on a long car drive, especially in the chorus, just driving down one of those endless highways. It prepares your mind and mood for the relaxing yet thoughtful tone of the album.

2. "Diamond in the Rough"

This song is a bit more active than the opening title track, driven by the guitar (keep in mind, I don't mean "drive" in the rock'n'roll sense; just more of a sense of the beat). The verses give a definite sense of buildup, both from the vocal and the instrumental work; when the chorus comes in, the feel turns more to straight folk-rock. This is followed by an interesting part by a flute-like instrument (again, I'm clueless as to exactly what it is). The song contains a unique, unexpected but very neat little middle-eight section as well. Great instrumentals, great melody make this one of my favorite tracks on the album.

3. "Shotgun Down the Avalanche"

This one is also somewhat more uptempo than the opening track, but the feel here is much more mysterious than "Diamond"s. The verses are the strength here, as Shawn puts quite a bit of variety into her vocal (even compared to the other tracks), while the chorus is quite restrained and short. Guitars of several varieties make their strongest appearance yet on this track, and also features the strongest demonstration yet of Colvin's trademark, echo-y guitar sound. This is a very interesting track, and certainly worth playing through at least a few times.

4. "Stranded"

Now we go back to a slower style - this one might be the slowest on the album, in fact. The verses are very pretty, even if it starts to sound a bit too repetitive after awhile. And the chorus indeed does a great job of instilling the feeling of being stranded. It's an alright song, but I think one of the weaker points on the album. It just is slow to the point of almost plodding, and the mood downbeat to the point of almost depressing. This is one where the mood you are in while likely greatly affect how you feel about it.

5. "Another Long One"

Ah, good, we're back to something a little more uptempo, featuring percussion that almost sounds like someone banging on a garbage can (a cool effect, trust me). Shawn enters with an insistent-sounding verse before moving to the chorus, one of her best on the album and making neat use of a double-tracked vocal. The instrumental mix is quite odd, but fits perfectly, just as in the title track (which I forgot to mention there). This song was definitely a good choice to put right after "Stranded," as it quickly snaps the listener's attention back on the music.

6. "Cry Like An Angel"

Although this song is not at all fast, it's got a nice beat to tap your foot to. The verses are quite cool, a little reminiscent of "Diamond..." here. I also like the start of the chorus, which seems to be building to a nice finish - when instead it oddly seems to fizzle out. An accordion and the echo-y guitars are featured here in the instrumentals. I think this one goes on a bit too long, especially since Shawn never gives the outburst of intensity that the song seems to promise. There are some really strong points here, but some disappointment, too.

7. "Something To Believe In"

Here, Shawn does a much better in seeing it through from the beginning of the verse through the end of the chorus. The verses give the impression (and perhaps the lyrics in them as well...) of running through a list of life's questions; not posing them as bad things, but just as challenges. The chorus answers this with, well... the title of the song. Just keep pushing through. The more laid back beat gives the song a nice platform to consider those ideas, too, all while keeping your foot tapping gently. I get a little bit of the feeling from the title track, too, of the ongoing nature of the theme. Good continuity, and a nice song.

8. "The Story"

Yay, a song in 6/8 time! Beyond the song's meter signature (which also helps), this is just a really nice piece of music. Shawn uses one of her most gentle, soothing vocal styles, and it really almost makes the term "pretty song" a tangible thing. The verses are very nice, with the lyrics coming from Colvin's lips at a pretty good clip. The chorus, however, begins with an extended note on which Shawn displays her expressionism impressively. In addition, behind the gentle nature of the song is a theme of determination and strength. One of my favorite tracks on the album.

9. "Ricochet In Time"

Here we get the shortest track on the album, and it seems to me a little like a cross between "Steady On" and "Stranded," with percussion on the upbeat to give it more tempo. It's not a very ambitious track; it neither soars high nor crashes down low. Some funky instrumental work is what stands out the most here. The verses are fine, and the chorus once again gives that feeling of, as The Beatles would have said, "the long and winding road," as first created by the title track. Not bad, but not great, either.

10. "Dead Of The Night"

The instrumentals, with deep drums and high strings, give it a more dramatic feel to start, then seems to come back to a regular level of intensity during the verse, before rising again just before the chorus where Shawn lets loose without getting loud, either. I suppose this track makes a good bookend for the album with "Steady On"; again, that sense of the "long road" is present, particularly in the chorus. This track has more dramatic flair than the title track, but it definitely also has more of a sense of finality to it. Another one that I can feel quite differently about depending on my mood: it can seem either too slow and plodding, or it can seem quite powerful and beautiful.

Score: 4 out of 5. I'm afraid this is probably one of my weakest reviews I've done so far. Shawn Colvin's music is simply considerably different from what I'm used to writing about. This is certainly quite a strong album, but it is sort of like Coldplay's first album: concentrates on the strength of the artist - which isn't a bad thing exactly, but neither album really tried to move out of its comfort zone. Still, this album is definitely worth at least a listen or two.

Essentials: "Steady On", "Diamond In The Rough", "Something To Believe In", "The Story"

Weak(er) Songs: "Stranded", "Ricochet In Time"

Movies: Battle: LA

Score: **1/2 out of *****

Long Story Short: Battle: LA has an enticing action premise, with gritty street fighting, cool visuals, and a high level of suspense. It delivers these, but is dragged down, first and foremost, by a simply horrendous script (even for an action film). The nail in the coffin is a wretched final act that just gets worse until its abrupt ending.

For the first time in a long time, I finally got to see a movie on opening night! I have been looking forward to Battle: LA since I saw the trailer last summer. The film is about an alien invasion of a certain city in California (sadly, no mention was made of whether or not the Lakers survived); it was directed by Jonathan Liebesman (who hasn't really done anything else of note). Unfortunately, my expectations were not quite met...

Here's a synopsis of the "story" of Battle: LA. Marine Staff Sgt. Nantz (Eckhart) is a veteran soldier on the cusp of retirement; he won some medals in combat, but is currently training new troops back at home. We also meet some of his trainees, including a young guy set to take command of the unit. TV reports of a meteor shower prompt a mobilization of the military which, as Eckhart and co. arrive, knows that in reality it's a landing of extraterrestrial beings. Missions are divvied out, and Eckhart's unit has to try to retrieve some civilians stuck in an area designated for imminent carpet bombing by our own forces.

The Marines make their way through the ruins of an LA suburb, and eventually find the civilians in a busted police HQ. The next large chunk of the film shows the Marines taking them to "safety"; but they arrive to find the forward operating airbase in ruins. Somehow, they manage to call for evac, but the Marines take a detour (while the civilians get ferried to safety) that ends up saving the day.

Yes, it's a mindless action film, but I'll still talk about the acting here anyway. I'll preface individual roles by saying, whoever wrote this film (looking... Christopher Bertolini) should never ever be allowed to write dialogue ever again. It isn't too terrible for the first half, but after that, it is painfully bad. With that said, the lead actor, Aaron Eckhart, manages a pretty good job portraying a grizzled Marine veteran with genuine courage. It doesn't hurt that he both looks and sounds the part, too. Everyone else has such a small role (at least in terms of dialogue) that they're barely worth mentioning, and unfortunately Bertolini ruins most of their parts. Michelle Rodriguez is the most recognizable of the supporting cast, and she gives a pretty average performance (basically the same role she had in Avatar).

I have to give Battle: LA at least a little credit: I was on the edge of my seat with tension for just about all of the first half to two-thirds of the film. The action (at least until the last act) seems as realistic as you could make battle against aliens. The Marines (again, at least until the last act) aren't super heroes by any means, and the looming sense of danger and death is ever-present. The shaky-cam style is used, which I don't typically like; however, it's a good fit for the film, and it's done significantly better than some other films. There are a few attempts made at humor in this film, most of which fail; unfortunately, there is also a healthy dose of unintentional humor, especially toward the end.

***

The strength of the suspense and direction of the action (throughout most of the film) might have been enough to get Battle: LA three stars. However, I am frustrated because, with just a little more effort and thought behind this, it could have been a really good action film. The first thing I would have done is drop the haphazard "Hollywood" feel in the non-shooting parts, as it clashes horribly with the gritty action sequences (and worsened by the terrible writing itself). Second, the ending is completely lazy, although it really starts going downhill fast right after the Marines make it to the ruined airport. One of my pet peeves in movies is lazily or just generally badly done endings, and this is a prime offender. Thus, it only gets two and a half stars, a poor opening big-budget action flick for 2011.

Sports: NBA at midseason (sort of)

I've been neglecting the blog recently, unfortunately. Partly this is due to computer problems, and is thus why there have been no music reviews. I thought about going to see I Am Number Four this weekend, which looked fun based on the trailers. Sadly, reviews I read on Rotten Tomatoes.com described it as Twilight with aliens. I think I'll pass. Unknown has gotten decent reviews, and I'm a Liam Neeson fan. But it just looks too much like Taken, a film Neeson starred in a couple years ago, with the "spin" of basically a Bourne-memory-loss plot. Maybe Netflix. So, the next movie I see in the theater *might* be Rango, depending on RT reviews, and if not that, then definitely Battle: Los Angeles which looks awesome.

So, what to do for now? Well, I haven't posted about sports in awhile. Sadly, the Pittsburgh Steelers lost the Super Bowl, but they surprised me by getting that far this season. And I don't really mind the Packers winning; seeing TTSNBN lose was the next best thing to seeing the Steelers win it all. With football over (and a headache of a collective bargaining agreement to make), I turn my attention fully to the NBA. This weekend is All-Star Weekend, which is typically the midpoint of the year, although this year it's a little later than that. I'll put up a few of my thoughts of what's happened thus far, and what I think (or hope) will come.

1. Carmelo

The most immediate item on the agenda is the whole Carmelo Anthony situation. As a brief summary, for those not familiar with it, Anthony will become a free agent at the end of the season. Denver has offered him a 3-year, $65 million extension, but he won't sign it. He has (mostly) consistently claimed that he only wants to play for the NY Knicks. However, a few months ago the NJ Nets reportedly came quite close to trading for him, and now the Lakers have even been rumored to have interest in him.

Personally, I'm not much of a Carmelo fan. I think it would be kind of cool to see him go to the Knicks, in order to try to match the Heat in star power (and of course, compete with the other East powerhouses). If he were to go to New Jersey, it would be a complete waste since the Nets aren't even close to being competitive. I don't think it would be a good idea for the Lakers to get him, but I also don't think it would be an obviously bad move. As Bill Simmons (I highly recommend his column/podcast) pointed out, Bynum's injury history does not bode well. So even if the Lakers' strength is their size, can they really count on Bynum to be playing, and at 100%, consistently? On the other hand, Anthony, would give them a third big-time scorer, across three different positions; that would be formidable, to put it mildly.

2. Lakers

*Sigh* You think I'd be used to it by now. The Lakers and their maddening inconsistency in the regular season; this year it seems to be the worst it's been in the Gasol era. How can you lose to a team that just recently tied the American pro sports team record for consecutive losses - a team that you beat by fifty-five point earlier this year?!? It's "only the regular season," but it's worrying. The Lakers have a miserable record against the league's best teams this year, and are 8.5 games behind the Spurs, the #1 team in the West right now.

What's the problem? A few theories. They really don't care about the regular season this year, and aren't that much better anymore to win with minimal effort/focus consistently. This seems to describe the way the team has played, but it doesn't make sense, since they have clearly struggled on the road and would want homecourt advantage if they played the Spurs in the playoffs. Second reason: Ron Artest. His statistics are down, even from last year, across the board. I haven't seen the Lakers play a ton yet this year, but not once have I seen him play well, and most disturbingly, he has looked bad on defense, his old specialty. Third: athleticism. The Lakers' bigs dominate every other team, but beyond that, it's the Lakers who fall short. Kobe is getting older and can't waste his precious legs chasing young guards around; but beyond him, there just isn't much there. Fisher is either done or (hopefully) saving himself for the playoffs like last year; Brown is athletic but is undisciplined and lacks skill; Walton is decent for what he is (a bench player to use when the other team does the same); Artest is sucking; and Barnes is hurt. Which leaves new acquisition Blake, who makes threes and does little else. I knew this would happen when they got him last summer, but I talked myself down. Turns out I was right: they DESPERATELY need at least a solid, young point guard.

What can they do? Well, one good thing that's happened this year is that Odom has improved and is often simply unstoppable due to his size, skill, and athleticism. Kobe is beginning his transition in earnest now to playing as a vet, letting the game come to him (mostly), and spreading out the scoring load. I wouldn't blame the Lakers for trying to get Carmelo for Bynum, but I hope they could figure out a way to get Billups, too (an aging point guard, but a much better one than any they have now). I'm hoping Barnes' return will help, and perhaps getting some of Artest's minutes will finally give Ron the kick in the butt he needs.

3. Season at a Glance

Through this point in the season, the East is led by the following teams, in order: Boston, Miami, Chicago, Orlando, Atlanta, New York, Philadelphia, Indiana. I am quite surprised that Boston continues to lead the East; I thought that last year's Finals were their last gasp. I think their old guys need to be tested for steroids at this point. Miami, sadly, is doing quite well. The good news is that, to me, they seem very beatable (Boston's beaten them all three meetings so far). I think the approach you have to use is the same as when LeBron was on Cleveland: let him do his thing, shut everyone else down. Yeah, he's got Wade now, but I think there is still some vulnerability here. Chicago has surprised me quite a bit. Now, I thought they might be close to this good - but not with Boozer and Noah being injured for as long as they have been. Rose has been phenomenal: 25 pts, 8 assists and 4.5 rebounds per game. With both big men, they will be really tough to take down. Orlando's big trade was alright; still to be determined, however. Giving up Gortat, Pietrus, and Carter for Turkoglu and Richardson was OK; but why in the world would you want Arenas?! They already have a point guard, Nelson, and Arenas is nowhere near the player he once was. They needed to trade Lewis for someone better; I don't think they have much of a shot in the East now. The Hawks? They get swept in the 2nd round of the playoffs each year, who cares what they do in the regular season? The Knicks' emergence has been neat, although it's the rise of role players like Felton, Gallinari, and Chandler that's been the most interesting. Without Carmelo, though, they don't have a prayer this year. The 76ers are interesting, but I haven't really followed them, and the Pacers will just be first round cannon fodder.

Through this point in the season, the West is led by the following teams, in order: San Antonio, Dallas, Los Angeles, Oklahoma City, Portland, New Orleans, Denver, and Utah. The Spurs have been perhaps the biggest surprise this year. If anything, I figured Poppovich would try to save his seasoned stars (Duncan, Parker, Ginobli) for the playoffs, but they have really been great, with the help of Blair, Jefferson, Hill, and rookie sharpshooter Neal. Dallas has also been fairly surprising. Nowitzki just stays so consistently good, and Chandler has been huge for them. Had Butler not gotten hurt, I think they would be big time contenders (still are good, just not top tier). LA I've just talked about. Oklahoma City has been surprising in the opposite way: I thought they'd blow everyone out of the water this year. But their defense has been much worse, and Durant has not improved considerably. Poor Portland, hit with injuries as usual; I was actually surprised to see them this high. With Paul back, New Orleans is, too, and Paul has been helped by two good bigs in West and Okafor. Denver is somehow hanging around despite the Carmelo drama, and Utah has been underachieving so far.

4. What to Expect

For the East, I imagine Miami will probably take over the #1 seed, as Boston battles injuries and tries to prevent serious setbacks. They'll have to battle Chicago for the #2 seed, who will be coming strong with Noah after the All-Star break. Orlando will likely improve, as well, with their new roster, and protect the #4 seed from Atlanta. In fact, the Knicks may make a run at the #5 seed over Atlanta. Beyond that, it doesn't really matter. It's a three team conference (and three great ones at that), with Orlando having the best shot at upsetting one of them.

For the West, I think the #1 seed is still somewhat in play. The Spurs do have a big lead, but I feel like Poppovich has to at some point think about resting the big three - but maybe he's just really intent on homecourt throughout. Dallas may have a chance at it, but will need the Spurs to really start tanking. I give the Lakers a decent shot at making a drive for #1, but not the way they're playing right now. The Thunder are another team to watch; if they can start to put it all together, they could also be striking for the #2 or even #1 slot. I think you can draw a distinct line in the conference there, because the #5 to #8 seeds are probably there to stay - however, they're all really close so exact positions are up in the air. There will be plenty of attention on potential playoff matchups, I imagine. For example, the Lakers would probably prefer to get New Orleans or Utah, and avoid Portland and Denver (just guessing).


Whew, that was long! It should be a fun finish to the regular season, and then even better in the playoffs!

Movies: The Green Hornet

Score: ***1/2 out of *****

Long Story Short: The Green Hornet is an action/comedy that takes the superhero genre to places it usually doesn't go. Rogen makes the main character an interesting, entertaining figure to follow/root for/root against (sometimes all at the same time). The film certainly has its share of flaws, including some disappointing action sequences, but its humor is excellent and it manages to end on a high note (unlike many similar films).

Well, a bit of a delay from my last blog post I'm afraid; and since I've seen this film, too. Life does that to you sometimes. Anyway, The Green Hornet is an action/comedy superhero film directed by Michel Gondry (Eternal Sunshine of the Spotless Mind) and release on January 14. This film obviously does not have high art aspirations, but it achieves its goals quite successfully. On to the plot.

The film starts with a variety of scenes introducing the main character, Britt Reid (Rogen), as the entitled, asshole son of a mega-newpaper (ie: NY Times) owner. It is also made clear that the father and son have a relationship that is frosty at best, and so Britt's attitude shows little change when his father suddenly passes away. However, Britt soon meets his father's former servant, Kato (Chou); after much talking and drinking, the two decide that they would like to pay tribute to the man they have in common. After performing the amusing prank, the two stumble into a robbery/assault, at which time Kato shows his martial arts talents - and Britt shows his eagerness (and ineptitude) for action.

With Kato revealing all kinds of useful skills, Britt proposes that they have "fun" dealing with crime, as opposed to "just" writing about it in the paper like his father did. So they begin terrorizing the criminals themselves, with the help of the Black Beauty, a Batmobile/James Bond car. However, this draws the attention of crime lord Chudnofsky (Waltz), who soon puts a price on the Green Hornet's head. At the same time, Britt grapples with some complications at the newspaper with the help of his new assistant Ms. Case (Diaz). As you might imagine, these threads come together for a rather explosive finale.

Acting is typically secondary at best in this type of movie, but there are some fine performances nonetheless. I was impressed by Seth Rogen, who I have only seen in pure comedies before. While he makes Britt an impressively off-putting character, he balances it with enough unintentionally self-effacing humor to make Britt tolerable and interesting. I'm not too familiar with Jay Chou; I suppose he does a good job as the naive, innocent foreigner but it's only a serviceable performance. Christoph Waltz, unsurprisingly, does a fine job as the villain, and as in Inglourious Basterds, he has a great mix of humor and genuine menace. Diaz does alright, but the scenes she's in shine more because of the way the film cleverly subverts the cliches of the role she's in (ie: Lois Lane, Mary Jane, etc.) than her acting.

Obviously, the action and the comedy are the main courses in this film. There is certainly some neat action in the film, particularly some Matrix-esque scenes and some involving the Black Beauty. However, much of the action is a bit numbing to be honest and sometimes not very imaginative and/or clearly filmed. It's the comedy that works the best here, in my opinion - and much of this takes place during the action. It certainly helps that the main "hero," the Green Hornet whose name everyone in the city comes to know, is in fact just a normal, chubby guy, and it's his partner who does all the heavy lifting. But the film was simply very successful in getting me to smile almost the whole time, whether in general amusement, a brief chuckle, or a laugh out loud shared with the rest of the theater.

***

Again, The Green Hornet is not competing for the Oscars, but it's a well-made film for what it wants to achieve. Yes, the action gets a bit stale here and there, and Britt occasionally seems to spontaneously change his character, among a number of other flaws I'm sure you can find. However, it's a well-paced film that keeps you entertained in a number of ways. And, it does something that a number of movies recently tend to really drop the ball on: it nails the last act. So, if you're looking for a fun time in the middle of the bleak winter, this one is certainly worth your while.