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DEJA RE-VU
"INVASION" (LIMITED EDITION) That's the unnerving situation Nicole Kidman faces in 2007's "Invasion." This was the fourth film adaptation of Jack Finney's 1955 novel, "The Body Snatchers." Arrow has just released the Kidman version in 4k UHD. The heightened visuals and audio make the viewing experience even more riveting. After a Space Shuttle crashes, sentient alien organisms begin taking over the minds and bodies of humans. The transition occurs during REM sleep. One of the first to be infected is the CDC director (Jeremy Northam) examining the crash site. His ex-wife, a psychiatrist (Kidman's character) begins to notice troubling signs all around her. And it's something more than the reported global flu epidemic that has served as an explanation. She has to figure out exactly what's going on... and most of all, she has to keep her young son safe. The film, made long before Covid, is more relevant than ever. The film adaptations have all had political and social implications. That was especially true of director Don Siegel's classic 1956 black-and-white version. It was part of the thought-provoking nature of Philip Kaufman's 1978 remake and Abel Ferrara's 1993 edition. The 2007 film, screenplay by David Kajganich (AMC's series "The Terror"), directed by German filmmaker Oliver Hirschbiegel ("Diana" with Naomi Watts), doesn't take time for philosophical questions. A science-fiction/horror/thriller, this one delivers relentless suspense. The chase scenes, whether in cars or on foot, ramp up the excitement. It's a paranoia-inducing, edge-of-your-seat experience. The acting ensemble helps to make the movie chillingly credible. Kidman's portrayal of the psychiatrist is complex and compelling. Daniel Craig is engaging as another doctor and her significant other. This sensitive character is a far cry from 007. Northam is suitably menacing in his role. And it's fun to see Veronica Cartwright pop up. She was featured with Donald Sutherland and Leonard Nimoy in the 1978 film. Arrow, as always, has loaded up interesting bonuses for the 4K UHD Blu-ray Limited Edition. The new audio commentary adds insights. There are new visual essays and some terrific archival featurettes from 2007. "Invasion" is traumatic for the characters, but for viewers, it's an exhilarating ride. "CHICAGO & FRIENDS -- LIVE AT 55" We hope you're not averse to making decisions, because the concert is available in numerous formats -- DVD+2CD, Blu-ray+2CD, 4K UHD, 2CD, 3LP, digital audio and digital video. If you opt for 4K or Blu-ray, you'll enjoy crystal clear picture, as well as pure, vibrant sound. You'll feel as if you're right on stage with the band. Produced by Barry Summers for the Decades Rock Live concert series, it was recorded over two nights in November 2023 at Atlantic City's Ocean Casino Resort. In the band named for the Windy City, the Chicago horn section has always blown hot. And a powerhouse rhythm section keeps the music hurtling forward. As he has for decades, keyboardist Robert Lamm (who also straps on an acoustic-electric guitar at one point) provides thoroughly engaging vocals. At age 80, he's a wonderment. The lineup has changed over the years, but the quality of the music has always remained at the highest level. In addition to Lamm, original members are trumpeter/flugelhorn player Lee Loughnane and trombonist James Pankow. The tight-knit group has never indulged much in guest stars, but for this special occasion, they invited seven terrific talents to join in -- Robin Thicke, Chris Daughtry, Steve Vai, VoicePlay, Judith Hill, Robert Randolph and Christone “Kingfish” Ingram. They contribute different sensibilities to vocal and guitar aspects of the Chicago classics. Vai's guitar wizardry brings an extra dimension to the psychedelic rock-inflected "South California Purples" and "Poem 58." "I'm a Man" flexes its muscles with an extended jam that features Randolph and Daughtry. Kingfish adds spice to "Make Me Smile." Hill's fervent voice vitalizes "Alive Again." She returns for a dramatic "You're The Inspiration" and a formidable "Feelin' Stronger Every Day." Among the other highlights of the two-and-a-half hour event are performances of "Does Anybody Really Know What Time Is," "Beginnings," "(I've Been) Searchin' So Long," "Free" and the power ballad "Hard Habit to Break." The concert spans the entire history of the band, from the first records to present day. It's great to hear early CTA songs included. They've been rather neglected for years. Unplugged versions of several Chicago tunes add to the fun for devotees. They give the band's harmonies a chance to shine, as on a pretty "Wishing You Were Here." The concert closes with a soaring "25 or 6 to 4," as all the guest stars get back on stage with Chicago. Ten thousand fans in attendance at the shows appear enthralled from start to finish. Viewing the Blu-ray or listening to the CDs or vinyl, you'll feel the same way.
"THE ADDICTION" - SPECIAL EDITION The film opens with Kathleen, a graduate psychology student (Lili Taylor) walking down a New York City street late at night. Suddenly a woman (Annabella Sciorra) grabs her, pulls her to an isolated spot, bites her neck and sucks her blood. Afterwards, Kathleen writhes on the bed in anguish. She undergoes a drastic transformation of personality and behavior. She has aversions to daylight and food. And a hunger for blood. She's got to have it. Guilt, shame, any sense of morality or compassion, are overridden by the craving. It must be satisfied. The assaults she perpetrates are violent, disturbing, yet sensual. Kathleen's obsession with quenching her blood lust is similar to a heroin addict searching for the next fix. The climactic scene is a terrifying orgy of savagery. The film is so gripping, you won't want to blink during its lean 82-minute running time. Ferrara shot the film in black-and-white, which heightens the nightmarish feel. His direction, fleshing out the screenplay by Nicholas St. John, weaves multiple layers into the work, inviting questions and discussions about the meaning, the symbolism, the metaphors. What is going on in the minds of the victims and their attackers? The movie delivers contentious, sometimes conflicting psychological, philosophical and theological views. Ferrara's work would not have been so powerful without the superb cast. Taylor threw herself into the role without any inhibitions. The depth and intensity level of her performance are quite remarkable. Memorable in support are Sciorra, Edie Falco and Christopher Walken. Also seen in the film are Kathryn Erbe and Michael Imperioli. After viewing the film, you'll want to explore Arrow's excellent extras. Particularly interesting is the 2018 documentary "Talking With The Vampires," which includes comments from Ferrara, the cast, cinematographer Ken Kelsch and composer Joe Delia. There's an unusual audio commentary featuring Ferrara. There's also an interview with him, a look at him editing and an overview of his career. This artfully made film, strange, creepy and challenging, will have you hooked from its opening frames. And many of the images seen in "The Addiction" will linger in your mind long after the closing credits roll.
THE ROLLING STONES -- "WELCOME TO SHEPHERD'S BUSH" -- 4K You can now fully experience this epic performance on 4K UHD video with a Dolby Atmos option. It's better than a front row seat. The concert is also available as a Blu-ray + two-CD set; a two-CD limited edition package of 15,000 worldwide; a two LP black vinyl package, and a direct-to-consumer two-LP set in 180-gram white vinyl. This isn't quite the Stones in their prime. But it's close. It's not the raw, hungry young 60s band. But it's not the octogenarian incarnation either. Here, Mick Jagger is still prancing convincingly and in good voice. Keith Richards and Ronnie Wood excitingly entwine on fiery guitar licks. And the inimitable Charlie Watts still mans the drums. The show has an explosive energy from start to finish. Best of all, this is not a greatest hits type concert. Yes, there are some very familiar tunes mixed into the set, such as "It's Only Rock and Roll (But I Like It)." However the band also features tunes that have seldom been heard live. In fact, this was the first time they played "Moon Is Up" from "Voodoo Lounge" on stage. After the boisterous opener, "Shattered," from the group's 1978 album "Some Girls," Jagger snaps, "There's one thing you'll never be -- respectable!" And the band launches into a grabbing, raucous version of "Respectable," from the same record. Scorching horns (including legendary saxophonist Bobby Keys) enrich the potent R&B of "Melody" (which they hadn't performed in over 20 years) and "I Got The Blues." The crowd enthusiastically chants along on "Saint of Me." Sheryl Crow adds to the excitement of "Honky Tonk Blues." In a more intimate moment, Keith Richards' earnest lead vocal and a sultry slide give a different flavor to "You Got The Silver," proceeded by the defiant "Before They Make Me Run," another Richards song from "Some Girls." The only composition not written by Jagger and/or Richards is a throbbing rendition of the Bobby Troup classic, "Route 66." The Stones bring this historic evening to a fevered climax with the blistering "You Got Me Rocking," followed by a titanic trio of "Tumbling Dice," "Brown Sugar and "Jumpin' Jack Flash." This is a fantastic concert, brimming with deep cut treasures. Reliving it in 4K UHD with Dolby Atmos is the ultimate thrill for Stones fans.
PERLA BATTALA - "A LETTER TO LEONARD COHEN: TRIBUTE TO A FRIEND" Her warm and wonderful voice wraps itself around such unforgettable Cohen songs as "Ain't No Cure for Love," the poignant "The Singer Must Die" and a piano-driven, poetic "Sisters of Mercy." The swirlingly entrancing "Take This Waltz," with its trumpet and Spanish guitar, is another high point. For its emotional lyrics, Cohen mined his translation of a Federico Garcia Lorca poem. Her version of "A Thousand Kisses Deep" proves to be exquisitely alluring. On the frighteningly relevant Cohen composition "Democracy," Battala is joined on vocals by award winner Patrick Page ("Hadestown"). The song benefits from a stirring new arrangement. The background singers lift their voices powerfully, imbuing the track with a spiritual quality. That's cleverly juxtaposed with a hip-hop approach. Batalla also delivers a haunting, soulful rendition of "Everybody Knows," another biting Cohen look at our mad world. Not all of the songs on the album originated with Cohen. "The Partisan," an anti-fascist anthem, was composed in 1943 by Russian-born Anna Marly, with lyrics by French Resistance leader Emmanuel d'Astier de La Vigerie. Cohen recorded this inspiring song on his 1969 album, "Songs From a Room." Two numbers were co-written by Batalla. The beautiful ballad "Awakened," with its delicate strings, reflects an artist being touched by the creative spark. "The L of Your First Name," which she penned with her friend Deborah Holland, speaks of the deep, lasting bond the singer feels with Cohen. Throughout, Batalla's performances are tender, touching and knowing. Her production, tasty and tasteful, is perfect -- just the right tone and instrumentation for each distinctive song. Mike Elizondo (Eminem), added his own producing touch to "Democracy." With this album, the Grammy-nominated singer-songwriter Batalla has reaffirmed her own exceptional talents. This is an homage to one extraordinary artist from another.
THE COWSILLS - "GLOBAL"(DELUXE) The tragic, turbulent behind-the-scenes reality of The Cowsills was revealed in the documentary "Family Band: The Cowsills Story." The siblings have continued to make music, in variations group iterations, as well as solo, over the decades. Often their efforts went relatively ignored. But they were always deserving of being heard. In 1990, after being apart for more than a decade, the band reassembled to make the "Global" album. The results were undeniably impressive, but no major label wanted to touch a group that hadn't had a hit in ages. The pop-rock material, primarily written by Bob Cowsill with his wife Mary Jo, is marvelously melodic and infectiously energetic. Barry and Paul Cowsill also made songwriting contributions. These recordings proved irresistible... except to label execs. Numerous obstacles kept the project on the shelf. Eventually they were able to release the album on CD, but only a few copies ever made it into the hands of consumers. It seemed to be a lost project. But fortunately, the music has been resurrected, restored and remastered. "Global" has now been released on vinyl, digital and CD by Omnivore Recording. This is The Cowsills at their finest -- edgier and more impassioned than on their commercial smashes. The songs are hooky and memorable. You'll be singing along midway through the first listening. The lead vocals, chiming or bitey guitars, driving rhythm section and, of course, layered harmonies, all shine. The album shows off the sparkling talents of the siblings -- Bob, John, Paul and Susan Cowsill (Barry died in 2005, in the aftermath of Hurricane Katrina; one of the other original members, Bill, who didn't participate in this reunion period, died following lengthy illnesses in 2006). The family is joined by veteran bassist Robby Scharf, as well as guests like Vicki Peterson (The Bangles), Peter Holsapple (The dB's), Berton Averre (The Knack) and John Stamos. Top tracks include and "What About Love?" "You've Got No Time," "Cross That Line," "Is It Any Wonder," "Some Good Years," the Fleetwood Mac-ish "Far Away" and the unbridled rocking of "Rescue" with its Bon Jovi-worthy chorus. But there are no weak cuts here. Susan's lead vocals on "Under The Gun" and "She Said to Me" are especially winning. Eleven of the original "Global" songs resurface, with the welcome addition of three bonus tracks, numbers that were cut from the earlier CD release. Of that batch, the propulsive "Shine" stands out. It's a shame that The Cowsills haven't been given more serious attention over the years. They are far more than a cute family band that recorded a handful of catchy hits in the 60s. This is a supremely gifted group of singers/musicians who have a large body of work that should be fully explored. And "Global" is the ideal place to begin. It's filled with endlessly appealing music.
"VIVA LONE JUSTICE" They did get singer-songwriter-guitarist Maria McKee going out on her own, making fantastic music of a different sort. Her song "If Love Is a Red Dress (Hang Me in Rags)" was featured in Tarantino's "Pulp Fiction." Ah, that voice! In her epically dramatic solo work, like her masterpiece album "High Dive," it's operatic in its level of power and emotion, somewhere between "Hand Sown... Home Grown"-era Linda Ronstadt and "Into The Woods"-era Bernadette Peters. In 1993, as McKee was recording her second solo album, Lone Justice bassist Marvin Etzioni found himself with access to recording equipment. He gathered McKee, Lone Justice drummer Don Heffington, Benmont Tench (Heartbreakers) and Tammy Rogers (The SteelDrivers) and laid down some cover tunes, mostly vintage songs they all knew and loved. Basic two-track demos. Thirty years later, Etzioni found the tapes in his garage. Lone Justice guitarist Ryan Hedgecock was recruited to overlay some tracks. Material from other similar sessions, as well as a live cut were added... and voila! "Viva!" The results vibrate with alt-rock at its most exciting. The band sounds raw, loose and tingling with energy. It sounds like they're having a blast. And you will, too, upon listening. The only major label Lone Justice album, a 1985 eponymous effort produced by super successful Jimmy Iovine, polished all the edginess clean off. "Viva" reveals the essential Lone Justice -- rootsy, uncompromising, unvarnished and bursting with passion. In "Viva," McKee again demonstrates her versatility. She'll take your breath away on the one original on the album, the gorgeous "You Possess Me," written by Etzioni. She goes whoopin' and hollerin' into traditional-type country ditties like "Jenny Jenkins," "Skull and Crossbones" and "Alabama Mama" that sound like they were wrested right out of the Appalachians. A George Jones/Roger Miller-written song, "Nothing Can Stop My Loving You," recorded live, is a real barnburner. Jo-El Sonnier's accordion gives it some Cajun fire. McKee puts suitable snarl into the rowdy cowpunk number "Teenage Kicks" (written by John O'Neill of The Undertones). A rockabilly bite makes "Rattlesnake Mama" hard to resist. A persuasive gospel zeal uplifts the traditional "Wade in the Water" and MC5's "Sister Anne." You might ask, "Why would anyone record another version of 'I Will Always Love You,' when Dolly's original is perfection?" Well, that question will be answered instantly upon hearing McKee pour her heart into the song. There's such an exquisite purity to her performance. As a sorrowful fiddle joins her, the track will bring you to tears. We went almost 40 years without previously unheard Lone Justice music. Now we can celebrate this satisfying new record. If there were any justice, this band would be a household name. Anyone who hears this album will indeed be wholeheartedly shouting, "Viva Lone Justice!"
JIMMY: THE SECRET LIFE OF JAMES DEAN But even with all the biographies, documentaries, TV specials, etc., there is still more to be said about the actor. That's evident by this fascinating new book by Jason Colavito. Exhaustively researched, the author provides readers with a wealth of details about Dean's career. But he delves even deeper into the rebel's personal life. The emphasis here is on Dean's sexuality. Though most biographies have touched on the subject, this may be the first to make it the main focus. A vast amount of previously unseen material became available from the estate of Dean's agent, Jane Deacy. This has helped Colavito to paint a more revealing portrait. For 70 years, people have debated whether Dean was straight, gay, bisexual or asexual. In terms of sexuality, as in other areas of his life, Dean both reflected and influenced the world around him. Certainly society's mores of the time had a profound effect on the way he dealt with his feelings and urges. The 50s, in America, was a repressive era, when homosexuality was condemned by many with media, government and religious pulpits. Stars like Rock Hudson and Tab Hunter had to hide their sexual proclivities. Just to be artistic, sensitive or smart made young men targets of suspicion or ridicule. Dean was all of those things. If males didn't fit into the macho mold, they were scorned, snubbed and called "sissies." So Dean reshaped the way he would be perceived. He attained prominence in athletics. He would put on false bluster and bravado. He acted aggressively. But conformity was outside his nature. He formed intimate friendships with men, his age and older. Colavito shows how Dean, never having recovered from the death of his supportive mother at an early age, exacerbated by the absence of his father, immersed himself in the arts. It was his avenue for expression and escape. He excelled at drama. He envisioned making his mark in a big way and while he was still young. However, his unorthodox technique and even his clothing put him at a disadvantage. His anger and petulance often made directors and fellow cast members wary. In his youth, Dean idolized Billy The Kid. As a young actor, he worshipped Brando and Clift, even pestering them with phone calls. He saw himself as falling somewhere between the two of them in style. Would he be able to have the sort of impact these new unconventional giants of the acting realm had achieved? After standing out in high school and college productions, Dean gained traction in New York theatre and live television. But there remained struggles, personal and professional. So he entered into a relationship with a sugar daddy. This man, as Dean was becoming famous, threatened to out him, if Dean didn't repay him all the money their association had cost him. But this man had provided connections and financial aid Dean needed. The actor was said to have quipped, "I didn’t know it was the whore who paid -- I thought it was the other way around." All along, there were women in Dean's life, several important romantic relationships. But was he really drawn to them sexually? Or seeking something else? Much has been made about his romance with actress Pier Angeli. It is often presented as his great, ill-fated love, derailed by her Italian mother, who resented his behavior and wanted her daughter to marry a Catholic. But Colavito dismisses it as a sham, just for show. Though many directors wouldn't stand for Dean's shenanigans, Elia Kazan was intrigued and decided he was worth the turmoil he might spark. He cast the young man in "East of Eden," bedeviled him into giving a performance for the ages, and Dean was on his way to becoming a Hollywood sensation. It's hard to imagine anyone else portraying Cal Trask.... or Jim Stark of "Rebel Without a Cause"... or Jett Rink of "Giant." The blurring of sexual lines was part of his on-screen appeal. In "Rebel," Dean romanced Natalie Wood, but also stirred carnal excitement with Sal Mineo. As a budding star, Dean had to be even more careful about the way he was viewed. From early on, Dean was absorbed by the supernatural, the mystical, questioning what might lie beyond this reality. Is there some sort of existence after this life? Always consumed by the need for speed, he raced motorcycles and cars. Was that last fast ride in his Porsche 550 Spyder his ticket to the next world, where his beloved mother awaited him? Dean, a symbol of alienation, the outsider, crafted a persona that has been embraced by young women and men, transfixing one generation after another. Dean had a mystique. He was different things to different people. Perhaps he didn't understand himself or his neuroses. But Colavito affords an opportunity for us to understand him better. We can see the legend as flawed, complicated and tormented, but also as an incredibly daring, adventurous, creative human being.
WE FOUND LOVE, SONG BY SONG: Well, this new book by music journalist Annie Zaleski gives you the backstories on a 100 classic tunes, spanning many eras and a myriad of styles. Some are joyful, filled with the euphoria of infatuation, like "Be My Baby," written by Jeff Barry, Ellie Greenwich and Phil Spector, immortalized by The Ronettes. Others are less dewy-eyed, such as U2's "With You or Without You" and "I Will Follow You Into The Dark," penned by Ben Gibbard and recorded with his band, Death Cab for Cutie. In some cases the songwriter channeled the essence, crediting divine intervention. In others, desperation to pay the rent served as the catalyst for creativity. Sometimes the writer landed an assignment and tailored a number to the talents of a particular artist. When Foreigner's Mick Jones wrote "I Want to Know What Love Is," it just poured out of him, as he wrestled with unresolved issues in his life. Initially, he was hesitant to let anyone else hear it. It wound up being one of the band's most popular songs. After meeting the girl of his dreams at an amusement park, Fred Parris wrote, "In The Still of the Night." With silky vocals by The Five Satins, it became a smash in 1956. Ironically, the real romance turned out to be ill-fated, but it did result in a song that was played during thousands of amorous nights. Songwriters Hank Cochran and Harlan Howard were in a down period, when they constructed "I Fall to Pieces." When Patsy Cline added her heart-wrenching voice, it proved to be a timelessly moving record. The lyrics, melodies, instrumentation and vocals mesh to create magic. And the songs are played at important moments, becoming part of the fabric of our lives. They can mean different things to different people. It's always in the ear of the beholder. The songs will have even more meaning for you, after you've read Zaleski's book. She intelligently analyzes what makes these tunes so memorable, examining all the elements that made these records hits, ones that endured. The Darling Clementine artists contribute enchanting illustrations to enhance the author's text. Countless love songs have been written and performed. Zaleski helps us understand why these 100 are so special. Some are profound and poignant. Some, with simplicity, make us hum and smile wistfully. But all of them reach us on a deep level. When you listen to these select songs again, you'll find that your experience has been enriched by knowing about the circumstances and inspirations that brought them into the world.
FALLING IN LOVE AT THE MOVIES: She gives equal weight to classic filmmakers like Billy Wilder, Preston Sturges and Ernst Lubitsch and to more modern writer/directors such as Nora Ephron, Nancy Meyers, Richard Curtis and James L. Brooks. The author fleetingly touches on silent rom-coms, beginning a more in-depth look with the screwball comedies of the 30s. She goes all the way though recent pictures like "Crazy Rich Asians." Zuckerman shines a spotlight on the talents that made these films memorable, including "America's Sweethearts," such as Meg Ryan, Jean Arthur, Julia Roberts, Barbara Stanwyck, Claudette Colbert, Sandra Bullock and Reese Witherspoon. Of course she can't leave out their male counterparts. So there's a chapter on "The Men" -- charmers like Jimmy Stewart, Tom Hanks, Jack Lemmon and the Grants -- Cary and Hugh. Don't forget about "The Man in Crisis" -- John Cusack armed with his boom box in "Say Anything" or Tom Ewell lusting after Marilyn Monroe in "Some Like It Hot." And speaking of "Some Like It Hot," you can't always trust men who are masters of deception, such as Jack Lemmon and Tony Curtis in that film, Gregory Peck in "Roman Holiday" and William Powell in "My Man Godfrey." There's one chapter on "Perfect Pairs" such as Doris Day & Rock Hudson, Spencer Tracy & Katherine Hepburn; another on the supporting characters who play crucial roles in the romantic narratives. Zuckerman glances at magical quality of fantasy rom-coms, including "I Married a Witch" and "Bell, Book and Candle." The author also considers "Teenage Dreams," "LGBTQ+ Love" and rom-coms that end "Not So Happily Ever After." You may quibble with some of Zuckerman's positions, such as most of Neil Simon's comedies seeming dated, but you're sure to find her book quite appealing and provocative. It will make you rush to the TCM schedule, so you can rewatch the movies discussed between its covers. Hugs to Zuckerman for celebrating a genre that is too often lightly dismissed. She makes clear that these movies are not necessarily all froth. Some have a great deal of substance and meaning. A rom-com that connects emotionally with audiences requires craftsmanship... and when it adds extra dimensions, artistry. Email Paul Freeman at paul@popcultureclassics.com |
