Jonas Åkerlund:"Spun" (2002)

A crystal-meth addict struggles to get his next fix as he obsesses over a recent breakup in Spun, a black-comic drug drama from music video director Jonas Akerlund. Rushmore's Jason Schwartzman stars as Ross, a young man who finds his maniacal world crumbling around him over the course of one long weekend. Spun chronicles Ross' travails as he tries to score from his regular dealer, Spider Mike (John Leguizamo), who realizes during Ross' visit that he's misplaced his stash. Indisposed by the frantic drug search, Spider Mike's girlfriend, Cookie (Mena Suvari), enlists Ross to pick up her stripper friend Nikki (Brittany Murphy) from work, and when he grudgingly agrees, he learns that Nikki might have an inside line on some of her own speed, courtesy of The Cook (Mickey Rourke). Meanwhile, two bumbling cops are onto Spider Mike's trail, and in his paranoid-delusional state, he sets out to find out who set him up. Spun premiered at the 2002 CineVegas Film Festival before securing berths at the Sundance, Toronto, and South by Southwest festivals.

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Gordon Parks:"Shaft" (1971)

Richard Roundtree cuts a startlingly new and powerful heroic figure as John Shaft, "the cat who won't cop out, when there's danger all about" in Gordon Parks' seminal action film, Shaft. John Shaft is a black private eye with a small office near Times Square. On his way there one day, he gets pumped for information by Lt. Victor Androzzi (Charles Cioffi), a friend of his on the police force, about something big going down in Harlem involving black crime kingpin Bumpy Jonas (Moses Gunn). Shaft can't help him and leaves, only to just miss being waylaid by two of Bumpy's strong-arm men at his office, one of whom ends up dead on the pavement eight floors or so below. Squeezed by the cops, who are holding a potential manslaughter arrest over his head, Shaft contacts Bumpy, who reveals that his teenage daughter, whom he's always kept away from his business, has been kidnapped. There's been no ransom demand and no clue as to who did it, and he wants Shaft to find the culprits, insisting that he start with a group of Harlem-based black militants led by Shaft's onetime friend Ben Buford (Christopher St. John). No sooner does he find Buford, holed up in a decaying part of Harlem, however, than his friend's comrades are mowed down by submachine gun fire, and Shaft and Buford barely escape. With Shaft angry and out for blood, everyone is forced to come clean -- Bumpy knows that it's the Mafia that kidnapped his daughter, as they want in on the Harlem drug trade that he controls; they're holding her somewhere else outside of Harlem, where his men are no good to him, which is why he wanted Shaft to hook up with Buford. Androzzi tells Shaft that a dozen Mob trigger men from out of town have been spotted in Greenwich Village. He doesn't know why they're there, but he does know that if fighting breaks out between Bumpy's men and the Mafia, it's going to look like a race war, and the whole city could erupt. Shaft doesn't like the way he's been manipulated, but he sees Androzzi's point -- he links the trigger men to the kidnapping and finds the girl, but loses her again, getting shot in the process. Even though he's wounded, Shaft heads for a final confrontation with the kidnappers, supported by Ben's friends in an armed assault on the building where they're holed up.

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Isaac Hayes:"Hot Buttered Soul" (1969)

Released at the tail end of the '60s, Hot Buttered Soul set the precedent for how soul would evolve in the early '70s, simultaneously establishing Isaac Hayes and the Bar-Kays as major forces within black music. Though not quite as definitive as Black Moses or as well-known as Shaft, Hot Buttered Soul remains an undeniably seminal record; it stretched its songs far beyond the traditional three-to-four-minute industry norm, featured long instrumental stretches where the Bar-Kays stole the spotlight, and it introduced a new, iconic persona for soul with Hayes' tough yet sensual image. With the release of this album, Motown suddenly seemed manufactured and James Brown a bit too theatrical. Surprising many, the album features only four songs. The first, "Walk on By," is an epic 12-minute moment of true perfection, its trademark string-laden intro just dripping with syrupy sentiment, and the thumping mid-tempo drum beat and accompanying bassline instilling a complementary sense of nasty funk to the song; if that isn't enough to make it an amazing song, Hayes' almost painful performance brings yet more feeling to the song, with the guitar's heavy vibrato and the female background singers taking the song to even further heights. The following three songs aren't quite as stunning but are still no doubt impressive: "Hyperbolicsyllabicsequedalymistic" trades in sappy sentiment for straight-ahead funk, highlighted by a stomping piano halfway through the song; "One Woman" is the least epic moment, clocking in at only five minutes, but stands as a straightforward, well-executed love ballad; and finally, there's the infamous 18-minute "By the Time I Get to Phoenix" and its lengthy monologue which slowly eases you toward the climactic, almost-orchestral finale, a beautiful way to end one of soul's timeless, landmark albums, the album that transformed Hayes into a lifelong icon.

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Girls Season 2 review

Hannah Horvath is getting her act together. If she can.

 

Hannah, the twentysomething heroine of “Girls” (played by the show’s creator, writer and director Lena Dunham) spent much of the HBO comedy’s first season alienating every person in her life — including many of the viewers who didn’t see the appeal of a show built around a young narcissist fumbling her way through the world. By the season’s end, she had chased away her best friend Marnie (Allison Williams), her boyfriend Adam (Adam Driver) and was alone on the beach at Coney Island, with a piece of wedding cake her only companion. 

 

As we enter the second season (it debuts Sunday at 9), Hannah has gotten off the sand and attempted to break with bad old patterns. She’s in a new relationship with Sandy (Donald Glover from “Community”) and declares, "I'm going to make logical and responsible decisions when it comes to you." With Marnie moved out, Hannah is now living with gay ex-boyfriend Elijah (Andrew Rannells from “The New Normal”) and taking on airs of maturity and worldliness.

 

Of course, these airs tend to only betray her ignorance. — when Elijah says he wants to turn their party into a French salon, Hannah replies, "I've always felt I was secretly really good at cutting hair” — because what fun would “Girls” be if Hannah stopped being an epic screw-up?

 

The new episodes occasionally nod to some of last year’s criticism. Donald Glover seems there partially in response to the complaints that this was a very lily-white cross-section of Brooklyn — but also because Donald Glover is fantastic and fits seamlessly into this world — and in a marvelously uncomfortable scene in the second episode, he gets to give voice to the viewers who find Hannah (and her world) vacuous and narcissistic.

 

But there’s a difference between a character who’s oblivious and spoiled, and a show that is. And what continues to be clear about “Girls” is that it is incredibly smart and knowing — and, even more than last season, funny — in how it depicts the many ways that Hannah and friends inadvertently wind up hurting each other. 

 

Take Elijah, for instance. The performance Rannells is giving here isn’t too far removed from what he’s doing on “New Normal.” The difference is that “New Normal” doesn’t seem to realize that his character comes across as an obnoxious brat, while “Girls” not only knows it, but embraces it. The new season’s third episode has Hannah agreeing to use cocaine for the first time for a website writing assignment, with Elijah along for the ride. The episode starts out as farce, and an illustration of how Elijah’s presence encourages all of Hannah’s worst instincts, but like the best “Girls” installments, it’s capable of turning on a dime and getting to a great emotional truth about its characters.

The second season digs deeper into the relationship between Hannah’s fellow barista Ray (Alex Karpovsky) and her neurotic friend Shoshanna (Zosia Mamet) in a way that humanizes Shoshanna without taking away the raw comic energy Mamet brings to the role. The most pleasant surprise of last season was the role reversal between Adam and Hannah, where at first their relationship made her look bad for wanting to be around this disgusting oaf before our sympathies pivoted and we began to wonder why he was with her. Season 2 brings with it another shift, and an opportunity for Adam Driver to continue giving one of the more memorable, strange performances in all of TV comedy. And though the impulsive marriage of Hannah’s obnoxiously bohemian pal Jessa (Jemima Kirke) to a wealthy Wall Street type still feels slightly out of key with the rest of the series, it inspires a great set piece where she gets to meet her husband’s horrified parents, played by character actors Griffin Dunne and Deborah Rush.

But the drawing card remains Dunham, who’s only grown more confident as both a writer and actress. She’s more aware of what she can get away with having the characters say and do, but there’s even more vulnerability and more bite to her performance, as well as a greater willingness to go for physical comedy.

 

It takes an enormous amount of talent to make a show about a character this annoying be this watchable, and funny, and touching. Fortunately, Dunham has that kind of talent. “Girls” was one of the best shows on television last year, and based on the first four episodes, it has a good jump on the competition for 2013. 

 By Alan Sepinwall

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David Fincher:"Fight Club" (1999)

In this darkly comic drama, Edward Norton stars as a depressed young man (named in the credits only as "Narrator") who has become a small cog in the world of big business. He doesn't like his work and gets no sense of reward from it, attempting instead to drown his sorrows by putting together the "perfect" apartment. He can't sleep and feels alienated from the world at large; he's become so desperate to relate to others that he's taken to visiting support groups for patients with terminal diseases so that he'll have people to talk to. One day on a business flight, he discovers Tyler Durden (Brad Pitt), a charming iconoclast who sells soap. Tyler doesn't put much stock in the materialistic world, and he believes that one can learn a great deal through pain, misfortune, and chaos. Tyler cheerfully challenges his new friend to a fight. Our Narrator finds that bare-knuckle brawling makes him feel more alive than he has in years, and soon the two become friends and roommates, meeting informally to fight once a week. As more men join in, the "fight club" becomes an underground sensation, even though it's a closely guarded secret among the participants. (First rule: Don't talk about fight club. Second rule: Don't talk about fight club.) But as our Narrator and Tyler bond through violence, a strange situation becomes more complicated when Tyler becomes involved with Marla (Helena Bonham Carter), whom our Narrator became infatuated with when they were both crashing the support-group circuit. Based on the novel by Chuck Palahniuk, Fight Club was directed by David Fincher, who previously directed Pitt in the thriller Seven.

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The Slits:"Cut" (1979)

Almost as well-known for its cover (the three Slits are half-naked and covered in mud) as for its music, Cut is an ebullient piece of post-punk mastery that finds the Slits' interest in Caribbean and African rhythms smoothly incorporated into their harsher punk rock stylings. Ari Up's wandering voice (a touch like Yoko Ono) might be initially off-putting, but not so much so that it makes listening to the record difficult. Six tracks are revamped from earlier Peel Sessions and sound better for the extra effort (especially "New Town" and "Love und Romance"). With its goofy charm, gleeful swing and sway, and subtle yet compelling libertarian feminism, this is one of the best records of the era.

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