My Internet Radio Playlist, 12/29/15

By Jack Silbert on December 29, 2015

EPISODE #213: LIVE HIGHLIGHTS 2015

The Who — “Happy Jack” [THEME]
Motörhead — “Ace of Spades” [R.I.P. Lemmy]
The Flamin’ Groovies — “You Tore Me Down”
Spain — “You and I”
Nicole Atkins — “You Were the Devil”
The Mekons — “The Olde Trip to Jerusalem”
Louise Distras — “Shades of Hate”
Colleen Green — “Wild One”
Nana Grizol — “Stop and Smell Thee Roses”
Jonathan Richman & the Modern Lovers — “Back in Your Life”
#Poundsign# — “Isolation”
The Pogues featuring Cait O’Riordan — “I’m a Man You Don’t Meet Every Day”
Rocket From the Tombs — “Amphetamine” (live)
Ride — “Vapour Trail”
The Feelies — “So Far”
Karyn Kuhl Band — “It Was a Very Good Year”

broadcast live from Hoboken, NJ, on “Jack’s Aquarium”
Tuesday, 12/29/15, 10:40-11:55 a.m. eastern time

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Movie Review: The Hateful Eight (Special Roadshow Engagement)

By Jack Silbert on December 26, 2015

3.5 stars out of 5

If you’re going to shoot in Ultra Panavision 70 — the first movie in nearly 50 years to do so — maybe, just maybe, don’t set the great majority of the 3 hour, 7 minute film in ONE ROOM? But hey, I’m not the filmmaker here. Quentin Tarantino is. And for most of The Hateful Eight, I thought this was his best offering in quite a long time — maybe since Pulp Fiction. But then, unfortunately, it started to self-destruct, in the most clichéd Tarantino ways imaginable. Oh well, it’s hard to be consistent for 187 minutes.

Now, that’s 20 minutes more than you’ll see, unless you catch Hateful Eight in its limited 70mm run. The “roadshow” version I saw included a musical overture, an intermission, and a souvenir program—a presentation style that was apparently popular in the 1950s and ’60s. I’ve always appreciated Tarantino’s giddy enthusiasm for cinema, and the roadshow definitely made for a fun, memorable experience. Worth the extra five bucks? Sure, why not, it was Christmas.

Tarantino is clearly having a blast from the get-go. He’s using old-time fonts for the credits, and has an original score by his old fave, Ennio Freakin’ Morricone. And there’s snow and Wyoming and a stagecoach and everything’s gorgeous in glorious 70mm with a 2.76:1 aspect ratio, nerds. Samuel L. Jackson and Kurt Russell are trading sharp, funny dialogue, and my old longtime No. 1 movie crush Jennifer Jason Leigh has a black eye and is crude as hell. (She’s a murderer being transported to justice by bounty hunter Russell. Jackson, also a bounty hunter, is hitching a ride in a blizzard.)

The weather forces our friends to seek shelter. No! It’s 70mm, stay outside on the snow-swept plains!! Still, even in one room, Tarantino keeps things highly entertaining. A lot of this has to do with more great casting of the dudes hanging out at “Minnie’s” place. We’ve got Vic Vega himself, Michael Madsen, with a suspicious twinkle in his eye. Tim Roth’s character gets the ridiculously hilarious name “Oswaldo Mobray.” Bruce Dern is a grumpy Confederate general. And I was very happy to see my man from The Bridge, Demian Bichir. (Walter Goggins as the maybe-sheriff can’t quite keep up with the other actors.)

Also on the positive side of the ledger: Tarantino has a more focused plot this time, and it’s not just another revenge tale. Instead, it begins to feel like a play (which is kind of dumb when you’re in Ultra Panavision 70, oh, did I mention that before), an old-fashioned whodunnit with the suspects gathered in the parlor.

One thing was kind of bugging me, which at first I overlooked because I was enjoying the film so much. Remember how some people said Django Unchained was racist? For me, the content of that not-great film fit its era and characters. But, lo and behold, the Hateful gang is also awfully racist. And misogynistic and generally abusive. “But it’s the era” can only buy you so much slack; I was getting uncomfortable. Come on, Quentin, you’re better than this. Or, maybe he’s really not.

And then the film fell apart. It’s divided into chapters, and the last chapter is crummy. The plot unravels out of control, and we get our requisite Tarantino bloodbath, except it by now it feels like a parody. (Moments of extreme violence earlier in the film were cleverly handled.) And the title might’ve given you a clue, but there’s really no one to fully root for here. Which, after 187 minutes, is kind of a drag. For me, this quickly went from The Hateful Great to The Hateful Eh.

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Movie Review: Star Wars: The Force Awakens

By Jack Silbert on December 22, 2015

4 stars out of 5

I was 8 years old when the original Star Wars came out and like everybody else I knew, I was all in. Poster on my bedroom wall, action figures, comic books. I loved trying to draw R2-D2. My dad took me into San Francisco one day to meet Darth Vader, who autographed a poster for me. (Not such a bad dude, really.) By Empire Strikes Back, we lived in Maryland — am still pissed at my 5th-grade classmate who revealed a “spoiler” in the school hallway. By Return of the Jedi, we lived in New Jersey. Moving around as a kid, it was comforting to have some things that came along with you: baseball, Happy Days, Star Wars.

The Star Wars arcade game came out in 1983. I remember the first time I played it, on the boardwalk in Seaside Heights. Obi-Wan instructed me to “Let go — use the Force,” so I did. (Letting go of the controller was a life-losing mistake.) In school I’d put a cup over my mouth and talk like Vader. Flash-forward to ’99, and we started getting new Star Wars movies. People like to shit on the prequels and they weren’t classics, but come on, it was Star Wars! Obi-Wan and Yoda and R2 and C-3PO and my old Bay Area buddy Darth. I enjoyed each one; even got to share the fun with the young readers of the magazine I edited. Was happy to see the sit-down version of the Star Wars video game at Barcade in Jersey City; now I was blowing up the Death Star with a beer by my side.

That’s a lot of intro to say: I love Star Wars. And Close Encounters and Indiana Jones and E.T. too, but it all started with Star Wars. So I was pretty pumped for three more movies, now that I’m like, a thousand years old. I’m not going to over-review this one, because I didn’t read any reviews before seeing it (it’s nice to be surprised), and I certainly don’t want to be that 5th-grade spoiler jerk. But the best thing I can say about this movie: It absolutely did not disappoint the 8-year-old me. Watching through those eyes, this is the best movie of the year, maybe of all time. “Five stars! Give it five stars!” my inner second-grader screamed. And even for a curmudgeonly adult, it’s still pretty freaking great. The most fun I’ve had at the movies in a long time.

Now, it is hard to separate out my nostalgia-fueled reaction. Because, up on the big screen, there’s your boyhood hero, Han Solo. (The sold-out theater audience cheered, which was awesome.) And Chewbacca and Leia and the Millennium Falcon etc. etc. To see Tie-Fighters battling X-Wings again — my heart filled with joy and my eyes filled with tears.

But there are new characters and new actors and they’re plenty good too. Am already a huge Oscar Isaac fan; the series is lucky to have an actor of his caliber. Isaac plays a confident, friendly good guy, the sort you’d want on your team. But then who’s this Daisy Ridley and where did she come from? She’s AWESOME. Totally charming but also totally kick-ass and righteous and nervous — the classic reluctant hero. And then there’s John Boyega as Finn, he of the “some have greatness thrust upon them” school. He’s also great, filled with raw humanity and relatable scaredy-cat-ness. BB-8 is a cool droid. I’m not yet convinced that Adam Driver isn’t this generation’s Keanu Reeves but he does a pretty good job. Domhnall Gleeson is in this, because he’s in everything.

Of the old crew I’ll just mention Harrison Ford’s performance. He’s a little wooden at times but eventually eases into the role, and it’s a pleasure to see. IT’S HAN SOLO FER CRISSAKES!!

Director J.J. Abrams is not the most original fellow out there. (In fairness, I never watched that Gilligan’s Island series of his.) But he’s done a pretty decent job revitalizing old properties, such as Mission: Impossible and Star Trek. My favorite work by him was the Steven Spielberg homage Super 8. And I feel like it’s all been good practice to take on Star Wars. This very much looks like a Star Wars film and feels like a Star Wars film. (It also sounds like one, but of course John Williams is a ringer.) Are there scenes that are overly derivative of the series’ past and is it maybe too self-referential in spots? Yes and yes. But more importantly, it’s thrilling and funny and cool and sweet, and the movie is packed with the importance of friendship and loyalty. That’s a really key message for kids and for grown-up 8-year-olds too.

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My Internet Radio Playlist, 12/22/15

By Jack Silbert on December 22, 2015

EPISODE #212: NEW TO ME IN 2015

So far in 2015, I’ve seen 267 musical performances by 234 different acts, 148 of which I was seeing for the first time, 138 of them brand-new to me. Of those, I was inspired to buy 27 records. (And was finally able to purchase records by 4 acts that I’d also seen in previous years.)

The Who — “Happy Jack” [THEME]
Oscar — “Forget Me Not”
Blaire Alise & the Bombshells — “I Got Something”
Trøn & DVD — “Shark Blood”
Nice Try — “Feels Right”
The Lampshades — “I’d Rather Just Neglect”
The Catenary Wires — “Intravenous”
Ex Hex — “How You Got That Girl”
Cold Beat — “Wave”
Smokey Hormel — “Louise Marie Wa Motema”
Courtney Barnett — “Nobody Really Cares If You Don’t Go to the Party”
The Gotobeds — “Fast Trash”
Slothrust — “Homewreck Wifey”
Radiator Hospital — “Blue Gown”
****
set: acts from earlier years
Wildhoney — “Seventeen”
Pale Lights — “Steps Through the Ruins”
The Space Merchants — Mainline the Sun”
Stephen Chopek — “Hurry”
****
A Nero — “The Coin Toss”
The Planes — “Keep You Safe”
CachaBacha — “Stitch Me Tight”
The Hellship Mutiny — “I Was Always Yours”
Spider Bags — “Summer of ’79”
The Ugly Beats — “Trouble’s Over”
Makeout Vertigo — “Sliver”
Daddy Issues — “Babehammer”
Quarterbacks — “Center”
The Cannanes — “Pillows”
Peter Wolf w/ Mick Jagger — “Nothing But the Wheel”
Nikki Sue & the Bad News — “Anchored”
Anthony D’Amato — “Was a Time”
Tim Foljahn — “Beloved”

broadcast live from Hoboken, NJ, on “Jack’s Aquarium”
Tuesday, 12/22/15, 10:00-12:20 p.m. eastern time

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Movie Review: Carol

By Jack Silbert on December 18, 2015

3.5 stars out of 5

You ever read about something being the “best movie of the year” so you go and see it, and then you think, ‘well that was good but by no means the best movie of the year’? That’s me and Carol.

I must admit to not being that up on the Todd Haynes ouevre. The only film of his I’ve seen is Far From Heaven, which I’m pretty sure I liked; I don’t know, it was a while ago. But, when it comes to art-house Todds, I’m more a Solondz guy.

Now, Carol is based on a novel by Patricia Highsmith. She also wrote the books Strangers on a Train (hey! good Hitchcock flick!) and The Talented Mr. Ripley (a movie that started out good but became a convoluted mess). And in 1952, Carol (originally titled The Price of Salt) would’ve been a very edgy tale: two women in love coping with a world that doesn’t accept them.

The always-solid Cate Blanchett plays the title role. She’s an upper-class wife and mother who just can’t fake it anymore, damnit. (Why so blue, Jasmine?) Rooney Mara — and you can hardly see her dragon tattoo — is Therese the young shopgirl who dreams of something bigger, and also she just can’t fake it anymore, damnit. Though coming from different directions, they’re both ready to shake up their lives. Carol and Therese are drawn together, the heart wanting what it wants.

Ah, but Carol has a bit more baggage, with a young daughter and a sham of a marriage to Coach Taylor. (Always good to see Kyle Chandler, who here is all frustration boiling over into rage.) Plus there’s Sarah Paulson, just happy there are no circus freaks, witches, serial killers, or asylum dwellers about, as Carol’s confidante and former-but-maybe-not-former-enough flame.

So Carol can never quite be as free as she’d like. And it seemed to me — due to classism? ageism? becoming the thing you despise? — that Carol unconsciously tries to control Therese in much the same way that her husband tries to control her.

The film is gorgeously shot, evoking the early 1950s through a muted lens. There’s a pleasing dream-like quality to much of it, almost as if we’re in a dollhouse. There are also an awful lot of — windows. Haynes shooting through car windows, train windows…. So I’m thinking, ah ha, symbolism! Transportation representing reinvention? But no, Haynes just keeps shooting though glass: shop windows, characters gazing out windows, reflections of characters. And Therese is a wannabe photographer, so she’s not looking directly at people either. What does it all mean? I don’t know, man, I just don’t know.

The recurring musical theme, “Crossing” by Carter Burwell, is effectively haunting, if a bit familiar sounding.

Oh, one bit of casting b.s.: Carrie Brownstein of Sleater-Kinney and Portlandia is listed in the opening credits. Then she’s in the movie for about 4 seconds. What the hell?!?

Things happen, tension builds, more things happen (there’s a legal scene where I felt like a few pages had been skipped), and the movie ends. And I have to say, I wasn’t particularly moved. I respect the craft of the filmmaking and the lead performances (though neither Blanchett nor Mara is as strong as Brie Larson in Room). It’s a really well-made film, with a compelling relationship at its center, at a challenging moment in history. But, as a whole, Carol left me feeling kind of empty. Distant. Staring out a window, into the void.

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Movie Review: Creed

By Jack Silbert on December 16, 2015

3.5 stars out of 5

So, there’s this new installment in a long-running movie series, started in the ’70s, good vs. evil, iconic music. But people are especially psyched for this one because it consciously connects back to the “classic era.” Of course, I am referring to Creed, the latest chapter in the Rocky saga.

Creed is especially interesting, because for the first time in the seven films, Sylvester Stallone turns over the writing duties. Ryan Coogler, the writer/director behind Fruitvale Station which I still need to see, grabs the reins here: director, co-writer, and story credit as well. He strips the franchise down to its roots while still managing to lend it a modern feel.

The plot, if you haven’t heard, has Apollo Creed’s now grown, out-of-wedlock son come to Philadelphia to be trained by the Italian Stallion himself, Rocky Balboa. Playing Adonis “Donnie” “Hollywood” Johnson/Creed is the very good Michael B. Jordan. Yes, he was the lead in Fruitvale Station; I fully intend to see this movie. But I know him as Vince Howard from Friday Night Lights. And my buddy Jim just reminded me that Jordan was also the very poignant character of Wallace in the first season of The Wire, way back in 2002. That’s cool, because he’s briefly reunited with Avon Barksdale here.

Coogler brings us back to the gritty Philly of the original Rocky. It feels real: We’re at Johnny Brenda’s and Max’s Steaks (and here I thought Jim’s was my non-Pat’s/Geno’s option) and the Electric Factory. And there are touchstones from earlier in the series, including Mickey’s gym and the Adrian’s eatery. Coogler repeatedly honors that past — turtles, chickens in the yard, mentions of Paulie, etc. — without leaning too hard on it.

Stallone once again eases back into the character he created 40 years ago (possibly inspired the Bayonne Bleeder, Chuck Wepner). And it’s not just the turned-up brim and “yo” speech patterns that transform Stallone into a modern-day Balboa. You get the sense that he’s absorbed a lot of punishment in the ring and in life, and has emerged with a grasp of what’s really important. Sly delivers a very likable performance.

Tessa Thompson does a really nice job as Donnie’s love interest Bianca — independent but supportive. The relationship feels legit. The character is a musician, and as for Thompson’s credibility there, well, she is the daughter of Chocolate Genius!

Also in this movie, alas without too much to do: Phylicia Rashad as Apollo Creed’s widow. Yes!! (Trivia: She is the third actress to play this role.)

A real highlight here are the visceral boxing sequences. We’re right there in the ring and it’s pretty thrilling. That’s kind of important in a boxing movie.

The script and the direction press many familiar emotional buttons — occasionally this feels like a TV movie complete with cheesy background music. And the ending may indeed rely too much on the past. Still, Coogler knows how to elicit a response from the viewer, and the result is a genuinely enjoyable movie. Not a knockout, but a clear winner by decision.

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My Internet Radio Playlist, 12/15/15

By Jack Silbert on December 15, 2015

EPISODE #211: HOLIDAY SPECIAL 2015

The Who — “Happy Jack” [THEME]
Darlene Love — “Christmas (Baby Please Come Home)”
Joni Mitchell — “River”
Electric Jungle — “Funky Funky Christmas”
Frank Sinatra — “Christmas Dreaming”
The Wedding Present — “Step Into Christmas”
Irwin Chusid — “Santa Claus Is Coming to Town”
The Dingle Belles — “Christmas Touch”
Jim Testa — “The Festivus Song”
Deena & Jon featuring the Hoboken Holiday All-Stars — “Light Shines Through”
The Bandana Splits — “All the Bells”
Otis Ball — “Last Present Under the Tree”
Rogue’s March — “Amsterdam Mistress”
Better Than Ezra — “Merry Christmas Eve”
Jennifer O’Connor & Amy Bezunartea — “I Feel Christmas”
Elizabeth Morris — “The Season”
The Pogues with Kirsty MacColl — “Fairytale of New York”

broadcast live from Hoboken, NJ, on “Jack’s Aquarium”
Tuesday, 12/15/15, 10:00-11:30 a.m. eastern time

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Movie Review: Brooklyn

By Jack Silbert on December 10, 2015

4 stars out of 5

Sometimes, in these United States, a swarthy boy will fall in love with a clean Irish girl. And every once in a while, she’ll love him back. Now, in terms of Irish women, the filmmakers here were really stacking the deck by casting Saoirse Ronan as the lead. A year and a half ago, I developed one of those movie crushes I get from time to time when she appeared in The Grand Budapest Hotel. In Brooklyn, Ronan gets to stretch her acting skills a bit, and does not disappoint.

The year is 1952, and Ronan plays Eilis from Enniscorthy (who? from where?). But there weren’t many opportunities for an Irish lass, so with her sister’s help, Eilis sets off for the bright promise of America. She settles in the titular New York borough, then a popular destination of immigrants from Europe instead of from, you know, Ohio. Thanks to priest Jim Broadbent, Eilis is pre-hooked up with a room in a boarding house (run by Julie Walters, hamming it up just a tad) and a department store job, where she’s overseen by Megan Draper. Zou bisou bisou!

Though she has the basics, adjusting to new environs is difficult for Eilis, until she meets the aforementioned swarthy fella. It’s Tony, the Italian, who likes the Brooklyn Dodgers! Ay, fuggedaboudit!! Tony is played by Emory Cohen (hmm, that ain’t an Eye-talian name no-how. But we’re equally swarthy, don’t kid yourself, boychik). Cohen plays Tony with real sweetness and earnestness, and not so much that you’ll wretch or anything.

And of course Saoirse Ronan is the main attraction. Her Eilis is dignified, ambitious, reserved, fragile, quietly sardonic, sweet, sentimental, and most certainly open to love. My movie crush continues unabated.

For a while, I wasn’t totally sure what to make of Brooklyn, and that was OK; I was simply enjoying it. Yes, it’s a classic immigrant tale, but not with the heft of, let’s say, Barry Levinson’s Avalon. Was it more of a gentle love story, then? Ah, but the plot takes a turn, as plots are wont to do, and the film begins to truly reveal itself. Because it’s really focused on everyone’s individual tug-of-war between the past and the future. The familiarity, comfort, and guilt associated with what’s expected of you by family and the old crowd (that pull represented here by the wow-he-gets-a-lot-of-roles Domhnall Gleeson), versus the desire to break free and be one’s own person.

Not an earth-shattering tale, but well told and performed, and certainly relatable. I didn’t know till the end credits that the screenplay was by my old fave Nick Hornby — nice work, fella. (OK, except for a very clichéd evil shopkeeper back home.) Bonus points for a very satisfying ending. Now come on, casting directors, we want more Saoirse!!

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Movie Review: Spotlight

By Jack Silbert on December 9, 2015

4 stars out of 5

You’ve got a fairly talkie movie here on a topic that is, for most of us, a given — that a lot of priests have taken advantage of little boys. Early on, I was even wondering if the subject might be better served by a documentary. But the cast and crew are stellar, and the result is one of the best films of the year.

Spotlight is directed and co-written by Tom McCarthy, which is pretty much a guarantee of both quality and humanity. If you’ve never seen The Station Agent, I urge you to; it’s one of my all-time favorites. And that Win-Win was no slouch neither. Yes, I know, I need to see The Visitor. Urger, urge thyself!

Another really compelling thing the movie has going for it is the moment in history it captures. It’s 2001 and the Internet hadn’t totally devastated the newspaper biz yet, but it already wasn’t looking good. So it’s fascinating to watch this story in 2015, when more and more papers are struggling to stay afloat, and even the most respected titles are resorting to “soft” news. (I’ll readily admit to enjoying those TV recaps in the Times.) So we have to wonder: Is true investigative journalism, as displayed here by the Boston Globe‘s Spotlight team, a relic of the past?

There’s also a very strong sense of place here. Now, it’s very easy to overdo it in movies about Boston, but McCarthy successfully walks the tightrope, keeping it both genuine but subtle. (Miraculously, they only say “Southie” ONCE in the entire film.) The script conveys the powerful influence of, and tendency to close ranks within, the city’s Irish-Catholic community. It also deals with the disregard and suspicion of so-called outsiders (Armenians, Hispanics, etc.), even if they are just as much part of the fabric of Boston as anyone.

Liev Schreiber, as the Globe‘s new editor, gets to personify all these things. He represents the changing business model of newspapers (but also provides the spark to begin the church sex-scandal investigation), and is a classic outsider as a (gasp!) Jew from D.C. and (double gasp!) New York. McCarthy gets strong performances from Schreiber, Rachel McAdams (as one of the reporters), Stanley Tucci (good lawyer), Billy Crudup (excellent as a slick-jerk lawyer), and Brian D’Arcy James (reporter) who looks kind of like Will Forte and was in a play that my friend Carli really liked. John Slattery also does good work, but portraying a manager in an office, I kept thinking, “Hey, it’s Roger Sterling!” which was a little distracting.

There are two really top-notch performances: Michael Keaton as the leader of the Spotlight crew, and Mark Ruffalo as its most dogged reporter. Keaton’s character is old-school Boston, which he uses to his benefit for access, etc., but also makes him an easy target for those who would hope to rein him in. Keaton plays it expertly, as a guy you’d really want leading the troops, defending his people and making the tough calls. Ruffalo, meanwhile, gives a kinetic portrayal — he’s practically bouncing out of his chair. The enthusiasm and passion are fun to watch.

And of course, there’s the story itself. Yes, we all knew about priests and their indiscretions — but how far up the ladder did it go? Who knew but did nothing? The abuse of power and trust, and the preying on the most innocent and disadvantaged, adds a real sense of urgency to the proceedings. And yet, Spotlight shows us how true journalists need to be aware of that urgency — the Herald could scoop them, for god’s sake! — but even more importantly, must keep working to get the full story and get it right. In today’s world of push notifications and Breaking News alerts, it’s a really crucial lesson to remember.

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Predicting John Sterling’s Home-Run Call for Starlin Castro

By Jack Silbert on December 8, 2015

To help settle their situation at second base, today the New York Yankees traded pitcher Adam Warren and utility-man Brendan Ryan to the Chicago Cubs for infielder Starlin Castro. The 25-year-old three-time All Star from the Dominican Republic also adds youth and a much-needed right-hand bat to the Yanks’ line-up. One key question remains, though: What will radio-announcer John Sterling’s home-run call be for Starlin Castro? Salt in Wound humbly offers the following suggestions:

— “You’re a star, Starlin!”

— “Castro hit that one into the Bay of Pigs!”

— “Castro with a Cuban Missile Crisis, exploding in the upper deck!”

— “Castro turned that ball Communist, because it is deep to left!”

— “That pitch was a Cuban cigar and Castro smoked it!”

— “It is Elián Going-Going-GONE-zalez!”

— “He Buena Vista Social Clubbed it!”

— “Another Castro Convertible, from fastball to touch-em-all!”

— “An H.R. from the D.R.! Always count on the Count of Monte Cristi!”

— “A startlin’ shot from Starlin!”

— “Oh my Starlin, oh my Starlin, oh my STAR-LIN Clobberin’ Time!”

— “Starlin launches a Castronaut into deep space!”

— “The pitcher was punished with a dose of Castro oil!”

— “Cast-ro thy ball upon the left-field bleachers!”

— “He slices a high-pitch Castr-ati!”

Previously featured:
• Didi Gregorius
• Carlos Beltran
• Jacoby Ellsbury
• Brian McCann
• Kevin Youkilis

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