Alfred Hitchcock:"North by Northwest" (1959)

While having lunch at the Plaza Hotel, advertising executive Roger O. Thornhill (Cary Grant) has the bad luck to stand up just as a "George Kaplan" is being paged. From this point on, Thornhill's life is turned upside down. He is abducted by three mysterious men and whisked away to the palatial home of enemy spy Phillip Vandamm (James Mason). Denying that his name is Kaplan, Thornhill is at a complete loss when Vandamm begins grilling him for information. Finally, Thornhill is forcibly intoxicated, tossed into a car, and sent careening down a treacherous mountain road. He escapes this death trap only by attracting the attention of a couple of cops in a squad car, but must bring the car to a sudden halt, and is promptly rear-ended by the car and arrested for drunk driving. Unable to persuade the law that his stories of kidnappings and enemy agents is true -- he can't even convince his own mother (Jesse Royce Landis) -- Thornhill takes the cops back to the mansion where he was held prisoner, only to find that Vandamm and company have cleared out, and that the house is really owned by United Nations ambassador Lester Townsend (Philip Ober). Tracking down Townsend at the UN building, Thornhill tries to get the man's attention -- whereupon Townsend is knifed to death, and the nonplussed Thornhill left holding the weapon. Now a fugitive from justice, Thornhill tries to escape via train. En route, he meets the cooly beautiful Eve Kendall (Eva Marie Saint), who graciously hides him from the police. The apotheosis of Alfred Hitchcock's Hollywood career, North by Northwest is fast, funny, and exciting. The film contains far too many highlights to detail in this limited space; standout bits include the crop-duster dusting where there aren't any crops, the riotous auction scene, and, of course, that nail-biting Mount Rushmore finale.

Read More

The Pogues:"Rum Sodomy & the Lash" (1985)

"I saw my task... was to capture them in their delapidated glory before some more professional producer f--ked them up," Elvis Costello wrote of his role behind the controls for the Pogues' second album, Rum Sodomy & the Lash. One spin of the album proves that Costello accomplished his mission; this album captures all the sweat, fire, and angry joy that was lost in the thin, disembodied recording of the band's debut, and the Pogues sound stronger and tighter without losing a bit of their edge in the process. Rum Sodomy & the Lash also found Shane MacGowan growing steadily as a songwriter; while the debut had its moments, the blazing and bitter roar of the opening track, "The Sick Bed Of Cuchulainn," made it clear MacGowan had fused the intelligent anger of punk and the sly storytelling of Irish folk as no one had before, and the rent boys' serenade of "The Old Main Drag" and the dazzling, drunken character sketch of "A Pair of Brown Eyes" proved there were plenty of directions where he could take his gifts. And like any good folk group, the Pogues also had a great ear for other people's songs. Bassist Cait O'Riordan's haunting performance of "I'm a Man You Don't Meet Every Day" is simply superb (it must have especially impressed Costello, who would later marry her), and while Shane MacGowan may not have written "Dirty Old Town" or "And the Band Played Waltzing Matilda," his wrought, emotionally compelling vocals made them his from then on. Rum Sodomy & the Lash falls just a bit short of being the Pogues best album, but was the first one to prove that they were a great band, and not just a great idea for a band.

Read More

Quentin Tarantino:"Django Unchained" (2012)

A former slave and a German bounty hunter become unlikely allies in the battle against a tyrannical plantation owner in this western from visionary director Quentin Tarantino. Two years before the Civil War pits brother-against-brother, German-born fugitive hunter Dr. King Schultz (Academy Award-winner Christoph Waltz) arrives in America determined to capture the outlaw Brittle brothers dead or alive. In the midst of his search, Dr. Schultz crosses paths with Django (Academy Award-winner Jamie Foxx), a freed slave and skilled tracker who seeks to rescue his beloved wife Broomhilda (Kerry Washington) from ruthless plantation owner Calvin Candie (Academy Award-nominee Leonardo DiCaprio). Once Django has aided Dr. Schultz in coralling the Brittle brothers, the two team up to capture some of the most wanted men in the South. Meanwhile, Django never loses sight of his mission to free Broomhilda from the treacherous slave trade before it's too late. Upon arriving at Candie's nefarious plantation, dubbed Candyland, Django and Dr. Schultz discover that slaves are being groomed for gladiator-like competitions by Candie's malevolent right-hand man Billy Crash (Walton Goggins), and together they skillfully work their way onto the compound for a closer look. But just as Django and his partner locate Broomhilda and plot a daring escape, Candie's house slave Stephen (Academy Award-nominee Samuel L. Jackson) catches wind of their plan, and informs his master of the betrayal. Now, as a clandestine organization attempts to back them into a corner, Django and Dr. Schultz will have to come out with pistols blazing if they ever hope to free Broomhilda from Candyland and the clutches of its vile proprietor.

Read More

The xx :"Coexist" (2012)

In the years between their debut and Coexist, the xx's sound took on a life of its own, thanks in large part to Drake's hit duet with Rihanna, "Take Care," which sampled Jamie Smith's collaboration with Gil Scott Heron, We're New Here. That single embodied and popularized the xx's aesthetic to such a degree that on first listen, Coexist can sound like demos for a potential follow-up. In turn, these songs lay the trio's R&B roots bare, with an extra emphasis on that last word: while second albums are where bands usually add more elements to their sound to keep things interesting, the xx go even darker and sparer than they were on their debut, which was pretty sparse and dark to begin with. On the lovely album opener "Angels," elegantly serpentine guitars -- which recalled the Cure and Durutti Column on xx but are now entirely their own -- echo into spectral shadows, and fragments of beats and melodies hang unresolved in the air, surrounded by vast expanses of nothingness. Any track here makes "Basic Space" or "Crystalised" sound like an Arcade Fire song by comparison, but the xx walk the fine line between minimalism and incomplete-sounding confidently. All that silence throws the album's subtle sounds into sharp relief, highlighting the luminous keyboards and percussion on "Try" and "Tides"' undulating bassline more effectively than cranking up the volume on them would have. Coexist's barely-there arrangements mean that singers Oliver Sim and Romy Madley Croft do most of the heavy lifting, but they're both more than capable of carrying the album's intimacy and humanity. While their solo tracks show how much both of them have grown as singers since xx, Sim in particular has become more polished and emotive, sounding even sadder and more seductive on "Fiction" when he sighs "last night the world was beneath us." However, Coexist's heart lies in Sim and Madley Croft's duets. The pair sounds more entwined than ever, and whether they're close together in Coexist's vast spaces, as on "Our Song"'s final glimmer of hope, or separated by them, as on "Chained," they share an intimacy that makes listeners feel like they're eavesdropping. But while there's no question that this album is more accomplished than xx, it's also less accessible; these songs just aren't as immediate as the band's debut, and at times, these tales of love gone wrong or gone away threaten to become repetitive. Still, there are so many moments of spine-tingling beauty, such as the way "Reunion" blends almost imperceptibly into "Sunset," or Madley Croft and Sim's shared sigh on "Unfold," that they're worth a little patience from the listener. Coexist's exploration of isolation and intimacy is demanding and rewarding in its bold subtlety and eloquent simplicity.

Read More

The Black Keys :"El Camino" (2012)

Picking up on the ‘60s soul undercurrent of Brothers, the Black Keys smartly capitalize on their 2010 breakthrough by plunging headfirst into retro-soul on El Camino. Savvy operators that they are, the Black Keys don’t opt for authenticity à la Sharon Jones or Eli “Paperboy” Reed: they bring Danger Mouse back into the fold, the producer adding texture and glitter to the duo’s clean, lean songwriting. Apart from “Little Black Submarines,” an acoustic number that crashes into Zeppelin heaviosity as it reaches its coda, every one of the 11 songs here clocks in under four minutes, adding up to a lean 38-minute rock & roll rush, an album that’s the polar opposite of the Black Keys’ previous collaboration with Danger Mouse, the hazy 2008 platter Attack & Release. That purposely drifted into detours, whereas El Camino never takes its eye off the main road: it barrels down the highway, a modern motor in its vintage body. Danger Mouse adds glam flair that doesn’t distract from the songs, all so sturdily built they easily accommodate the shellacked layers of cheap organs, fuzz guitars, talk boxes, backing girls, tambourines, foot stomps, and handclaps. Each element harks back to something from the past -- there are Motown beats and glam rock guitars -- but everything is fractured through a modern prism: the rhythms have swing, but they’re tight enough to illustrate the duo’s allegiance to hip-hop; the gleaming surfaces are postmodern collages, hinting at collective aural memories. All this blurring of eras is in the service of having a hell of a good time. More than any other Black Keys album, El Camino is an outright party, playing like a collection of 11 lost 45 singles, each one having a bigger beat or dirtier hook than the previous side. What’s being said doesn’t matter as much as how it’s said: El Camino is all trash and flash and it’s highly addictive.

Read More

Rob Reiner:"Misery" (1990)

Adapted from a Stephen King novel, Rob Reiner's Misery cast James Caan as a writer at a career crossroads. The film opens with Paul Sheldon (Caan) completing work on his latest novel, a break from his popular series of novels featuring the character Misery Chastain. He gets into a severe car accident and is saved by Annie Wilkes (Kathy Bates), a reclusive woman who nurses him back to health. Annie is a huge fan of the Misery novels, and she finishes reading the new one while Paul is convalescing. She becomes enraged when she discovers that Paul has killed off Misery. Annie injures Paul's foot severely so that he is unable to leave her house, and forces him to write a new Misery novel. A local sheriff (Richard Farnsworth) and Paul's agent (Lauren Bacall) both attempt to track down what happened to the missing author. Misery shot the relatively unknown Kathy Bates to stardom, winning her one of the few Best Actress Oscars ever bestowed for portraying an evil character.

Read More