INsite Atlanta December 2006 Issue by INsite Magazine

AKERS MILL | 770.956.9093 2995 Cobb Pkwy. ALPHARETTA/WINDWARD 678.393.2733 5530 Windward Pkwy. ANSLEY MALL | 404.249.6463 1544 Piedmont Ave. NE ATLANTIC STATION | 800.730.9957 Upcoming Sports Club - Join Now! 264 19th St., Suite 2250 AUSTELL | 770.432.4262 1025 E. West Connector #2 BUFORD | 800.730.9786 Upcoming Sports Club - Join Now! 1600 Mall of Georgia Blvd. NE, Suite 858 CAMP CREEK | 404.344.1248 3755 Carmia Dr. SW, Suite 700 DUNWOODY/PERIMETER PT. 770.350.4951 1155 Mount Vernon Hwy.,#600 EAST COBB | 770.973.3370 4400 Roswell Rd. HOLCOMB BRIDGE | 770.640.8137 1475 Holcomb Bridge Rd. JOHNS CREEK | 770.623.9433 11720 Medlock Bridge Rd. KENNESAW/TOWN CENTER 770.427.9668 2801 George Busbee Pkwy. LENOX/BUCKHEAD | 404.233.8311 3232 Peachtree St. MIDTOWN | 404.249.6404 75 Fifth St., NW, Suite E NORTHLAKE | 770.414.0651 1990 W. Exchange Place PEACHTREE CORNERS 770.797.2661 7050 Jimmy Carter Blvd. #118 ROSWELL WEST 678.494.6464 4801 Alabama Rd. SNELLVILLE | NOW OPEN! 2279 Pinehurst Rd. 770.979.1288 SOUTHLAKE | 770.960.0393 7057 Mount Zion Circle SUGARLOAF | 770.822.2533 1860 Duluth Highway TOCO HILLS | 404.248.2998 2880 N. Druid Hills Rd.

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CONTENTS

DECEMBER 2006 VOL. 15.3

INTERVIEWS

12 TENACIOUS D 14 DANIEL CRAIG 15 DUSTIN HOFFMAN 18 BORAT 23 YOUNG BUCK 25 BUCKCHERRY 27 DROPKICK MURPHYS 29 DAVID AYER 34 FOR YOUR CONSIDERATION 35 CHRISTIAN SLATER 36 DARREN ARONOFSKY

FEATURES 10 HOLIDAY GIFT GUIDE

From cigars and art supplies to shoes and packaging, we’ve got you covered with a broad variety distinctive gifts this holiday season.

22 WE GOT NEXT

This month featuring Dead To Me, the politically-charged punk band from San Diego founded by a former Fat Wreck Chords employee named Chicken.

32 NEW YEAR’S EVER GUIDE

What are you doing New Years Eve? It’s still too early to panic if you haven’t made plans, but we can help you find ways to ring in 2007 in style.

35 HOLIDAY CATERING GUIDE

December brings Christmas parties, new Years Eve parties and Bowl games. You can’t possibly cook for all of them! Check out great holiday catering suggestions inside.

COLUMNS 6 ON TAP 7 UNDER THE LIGHTS 8 AROUND TOWN 13 WANTON DISTRACTION

16 MOVIE REVIEWS 19 VIDIOTS/BOOKS 20 CONCERT CALENDAR 22 ROAD WARRIORS 24 ALBUM REVIEWS 29 TECHNOLOGY 37 FANATIC 38 HOROSCOPES PG 4 • insiteatlanta.com • December 2006

www.insiteatlanta.com

December 2006 Volume 15.3

INsite Magazine of Atlanta 2250 North Druid Hills Rd. #100 Atlanta, GA 30329-3118 404-315-8485 Fax 404-315-1755 email feedback@insiteatlanta website insiteatlanta.com

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Call 404-315-8485 advertising@insiteatlanta.com President Stephen Miller National Managing Editor Bret Love Graphic Designer Michael T. Local Events Editor Rav Mansfield Local News Editor Glenn LaFollette Sports Editor DeMarco Williams Web Design Kalico Productions Contributing Writers / Interns John Davidson, John Moore, Russell Fisher, Zena Scott, Margo Aaron, Andrew Gilstrap, Mathew Goldberg & Kim Guelcher

INsite is published on the first Friday of the month and is distributed free on 23 college campuses and at over 1,000 locations throughout metro Atlanta. Editorial content of INsite is the opinion of each writer and is not necessarily the opinion of INsite, its staff, or its advertisers. INsite does not knowingly accept false or mi leading advertising or editorial content, nor do the publisher or editors of INsite assume responsibility should such advertising or editorial appear. No content, i.e., articles, graphics, designs and information (any and all) in this publication may be reproduced in any manner without written permission from publisher.

IDEAL FOR STUDENTS!

The Local Scene

Holiday ON TAP FOR DECEMBER Help Email events to ontap@insiteatlanta.com

December 5: Tenacious D

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Jack Black's new movie tanked at the box office but the band continues to rock. Tenacious D, appearing at the Arena at Gwinnett Center, are an American rock band composed of musician/actors Kyle Gass (a.k.a. "KG", "Kage","Rage Kage") and Jack Black (a.k.a. "JB", "Jables"). Their style fuses rock with other musical styles such as folk metal, comedy rock, and stoner rock. They are known for their upbeat classic rock style and vulgar comedy. The band first gained popularity in 1999 when they starred in a selftitled HBO television series, in which JB and Kage tried to establish themselves as "The D" and the "Greatest Band in the World." For ticket info, head to: www.ticketmaster.com

December 6: GWAR There is not a more appropriate band to play a venue named the Masquerade than GWAR. GWAR is a thrash metal, hardcore punk and shock rock band formed in 1985 by a collective of artists and musicians at Virginia Commonwealth University in Richmond, Virginia. The band is best known for their elaborate sci-fi/horror film inspired costumes; raunchy, obscene, politically incorrect lyrics; and graphic stage performances, which consist of humorous re-enactments of scatology, sadomasochism, necrophilia, pedophilia, bestiality, fire dancing, pagan rituals, executions, and other controversial violent and political themes. GWAR has been on the leading edge of shock rock since their formation. For ticket info, head to: www.ticketmaster.com

December 6: 99x Mistletoe Jam

770-772-5200

Want to rock out with a bunch of your most alternative friends? If so, 99X's concert at Philips's Arena is for you. The event features AFI, Jet, and The Killers (headliner). The Killers are a rock band from Las Vegas, Nevada. It was formed in 2002 and is made up of Brandon Flowers (vocals, keyboards), Dave Keuning (guitar, vocals), Mark Stoermer (bass, vocals), and Ronnie Vannucci Jr. (drums, percussion). The Killers released their acclaimed debut album, Hot Fuss, in 2004. Their second album, Sam's Town, was released to mixed reviews in the United Kingdom on October 2, 2006 and in North America on October 3, 2006. For info, head to: www.99x.com

December 11: Bob Schneider Mosey on over to Smith's old bar and see something entirely different. Bob Schneider (born October 12, 1965) is an Austin, Texas-based musician, but was born in Ypsilanti, Michigan, and raised in Munich, Germany. He is formerly of Ugly Americans, Joe Rockhead, and The Scabs, none of which gained much national recognition. Bob currently plays regularly at the Saxon Pub and Antone's in Austin, Texas, and tours extensively. He is also known for having dated Sandra Bullock and the breakup that followed their passionate relationship. For more info, head to: http://www.smithsoldebar.com

December 21: Pittsburgh Penguins at Atlanta Thrashers Your Atlanta Thrashers are having their best season ever. The Thrashers may very well make the 2007 Stanley Cup Playoffs. Hossa, Kovalchuk and New York Ranger Jaromir Jagr have recently been vying for the NHL scoring crown and after their first 20 2006-07 NHL games, Atlanta is leading the Southeast Division with a record of 12-5-3. Come see if the guys at Blue Land (ie Philips Arena) can keep it up. Good seats are still available. For tickets, head to: www.ticketmaster.com

December 31: Widespread Panic Looking to shake your groove thing this New Years Eve? Philip's Arena hosts the annual Widespread Panic New Years Concert. Perhaps more than any other word, “adventure” embodies the spirit of Widespread Panic. From their humble genesis in 1986 at the University of Georgia, where Bell first met guitarist, vocalist and band namesake Michael “Panic” Houser, all the way to the band’s twentieth anniversary, adventure has fueled the journey. The band’s fan base has accounted for the sale of over 3 million albums, attendance records at some of the nation's most prestigious venues, and more than a decade on Pollstar’s Top 50 tours of the year list. For ticket info, head to: www.ticketmaster.com • insiteatlanta.com • April 2005 PGPG 6 • insiteatlanta.com • December 2006

The Arts

UNDER THE LIGHTS W h at ’ s H a p p e n i n g o n S t a ge i n A t l a n t a

the show sticks close to the original narrative, but aims to be laugh-out-loud funny, promising to show a side of Dickens you've never seen before. ART Station, 5384 Manor Dr, Stone Mountain Village. 770-469-1105. www.artstation.org.

Christmases and Hannukahs past. The schedule of guests is as follows: 12/6 – Doyle Reynolds (renowned Atlanta stage actor); 12/8 – Jay Carlson (humorist); 12/9 – Ken Edelstein (editor of Creative Loafing); 12/13 – Jen Kelley (co-producer for Sketchworks and talent agent for The People Store); 12/15 – Brian Bannon (standup comedian); 12/16– Doug Teper (Georgia House of Representatives); 12/20 – Jeffrey Charlton (Actor); 12/22 – Steve Yockey (playwright); 12/23 – Stephen Platinum (founder of Platinum Championship Wrestling); 12/27 - Guest Monologist T.B.A. PushPush Theatre, East Decatur Station, 121 New St., Decatur. 404-377-6332. www.thedougdankproject.com.

GOSPEL CHRISTMAS WITH THE ASO Dec 15-16 Symphony Hall A V E RY M E R RY U N AU T H O R I Z E D C H I L D R E N ' S S C I E N TO L O G Y PAG E A N T Dec 1-23 D a d ’ s G a r a ge T h e a t r e

T H E S A N TA L A N D D I A R I E S Through Dec 31 Horizon Theatre The story that took David Sedaris from little-known humorist to the closest thing the literary world has to a rock star, The Santaland Diaries (which was originally broadcast on NPR's Morning Edition) recounts the author's bizarre experiences working as a tights-clad elf at Macy's. An out-of-work writer at the age of 33, the sardonic Sedaris took a seasonal department store gig that found him beseiged by snotty brats and their obnoxious parents, suppressing his cynical side so his elfin alter ego, Crumpet, could shine through. Now in its 8th year as a perennial holiday favorite at Horizon Theatre, Sedaris' stage adaptation of his bestselling book Holidays On Ice once again features critically-acclaimed actor Harold M. Leaver in the lead role, delivering a caustic sort of Christmas carol sure to please fans of the satiric, sarcastic and politically incorrect. Horizon Theatre, 1083 Austin Ave, Atlanta. 404584-7450. www.horizontheatre.com.

With its previous productions of cult hits such as Debbie Does Dallas: The Musical and Reefer Madness, Dad's Garage established itself as Atlanta's premiere theatre for outrageous offBroadway irreverence. Making its regional premiere, this Obie award-winning musical written by Kyle Jarrow takes a children's pageant-style look at Scientology. The cast is made up entirely of children ages 8 to 12, but the material is definitely intended for adult audiences, with satirical songs such as "Hey! It's A Happy Day!" and "L. Ron Hubbard" leading to memorable moments such as 8-year-olds singing about Prince Xenu. Perfect counter-programming for those who've grown tired of the same old hoary holiday chestnuts, A Very Merry Unauthorized Children's Scientology Pageant is arguably the most unique seasonal show you'll see this year. Dad’s Garage Theatre, 280 Elizabeth St, Suite C-101, Atlanta. 404-523-3141. www.dadsgarage.com.

Savage Tree Arts Project offers up a month-long festival full of multi-cultural and multi-discplinary takes on the holidays. There's African-American storytelling in Drama Queens, the adults-only comedy show Within the Fringe, a cheeky variety smorgasbord called The Ho Ho Show, Kyle Crew’s irreverent holiday fable THE CHRISTMASNOMICON, and a song-filled children's puppet show called It's the Most Wonderful time of Year... For Giving! Check the Savage Tree website for a full schedule of shows. PushPush Theatre, East Decatur Station, 121 New Street, Decatur. 770-798-1350. www.savagetree.org.

Chances are you've seen at least one of the bazillion stage and screen adaptations of Charles Dickens' classic A Christmas Carol. But ART Station's take on this hoary holiday chestnut ramps up the fun factor via song parodies of popular Broadway show tunes, with only three actors (David Silverman as Scrooge, with Geoff Uterhardt and Bethany Irby in multiple roles) playing all the characters. Directed by Kathy Feininger,

AT L A N TA C E LT I C C H R I S T M A S C O N C E RT Dec 16-17 Emerson Concer t Hall, Schwar tz Center Though rarely discussed outside of scholarly musicologist circles, the origins of Appalachian folk and bluegrass music can be traced all the way back to Irish and Scottish traditions hundreds of years old. This annual concert, now in its 14th year, subtly makes those connections with a program that includes mystical Celtic music, heartwarming Southern sounds, dance, poetry and storytelling that immerse the audience in the sentiments of the holiday season. Described by the AJC as "a rollicking yet reverend occasion," the James Flannery-hosted event is sure to get even the most curmudgeonly of Scrooges into the Christmas spirit. Emerson Concert Hall, Schwartz Center, 1700 N. Decatur Rd, Atlanta. 404-727-5050 . www.arts.emory.edu.

I T ' S A WO N D E R F U L L I F E Dec 18 Fox T h e a t r e IT’S THE MOST WONDERFUL TIME OF YEAR Dec 2-27 PushPush Theatre

A B ROA DWAY C H R I S T M A S C A R O L Through Dec 23 A RT S t a t i o n

The Atlanta Symphony Orchestra’s annual Gospel Christmas concerts have been a holiday tradition since 1992, attracting guest musicians such as the Pointer Sisters along the way. This year’s guest conductor will be Chelsea Tipton II, a former associate conductor with the Savannah Symphony and current resident conductor with the Toledo Symphony Orchestra, who has also conducted the Boston Pops and the Brooklyn Philharmonic. Critically-acclaimed as a gospel music expert, Tipton will lead the ASO and the ASO Gospel Choir in a rousing selection of African-American spirituals and classic Christmas carols virtually guaranteed to get even the grouchiest Grinch into the spirit. Symphony Hall, 1280 Peachtree St, Atlanta. 404-733-5000. www.atlantasymphony.org

If you're over the age of 7, you've probably seen the classic It's A Wonderful Life at least once or twice. But unless you're over the age of 70, you've probably never seen it on the big screen, and certainly not like it will be in this free screening. The show will begin at 7PM with a free holiday organ concert and singa-long, featuring Fox organist Larry Douglas Embury on the “Mighty Mö” organ, followed by a showing of the 1946 film. There will be a choir performing outside on Peachtree St at 6PM, and photo ops with Santa Claus available from 6 to 8PM. Though tickets are free, they are also first come, first served, available at the Fox Theatre box office beginning December 1. Guests are encouraged to bring a toy donation for Toys for Tots. Fox Theatre, 660 Peachtree St NE, Atlanta. 404-8812100. www.FoxTheatre.org.

T H E D O U G DA N K P R O J E C T Dec 6-27 PushPush Theatre What do you call it when some of Atlanta's best improv performers get together with well-known comedians, editors, playwrights and politicians and improvise scenes based on stories from these public figures' lives? You call it the Doug Dank Project, one of the newest additions to the city's rapidly expanding improv scene. After months of a weekly Wednesday night at 10PM set at PushPush, December finds the Dankers expanding into weekend slots. These holiday-themed shows will center around the guest monologuist's personal stories of PG 7 • insiteatlanta.com • December 2006

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Smar t Fun COMMUNITY AND PROFESSIONAL EDUCATION AT THE ART INSTITUTE OF ATLANTA

TAKE YOUR SKILLS TO A NEW LEVEL OR LEARN SOMETHING NEW JUST FOR FUN

Give the Gift of Learning Do you know someone who would love to learn a new creative skill in a relaxed, fun environment? Give a gift certiﬁcate for a community education workshop at The Art Institute of Atlanta! Choose from workshops in cooking, interior decorating, photography, web design, and more. Cost for a class ranges from $85 to $225. Discounts are offered on multiple class packages.

Call 770.689.4764 or email aiasmartfun@aii.edu today!

07-048 0829

6600 Peachtree Dunwoody Rd. 100 Embassy Row, Atlanta, GA 30328

1.800.275.4242 / 770.394.8300 / www.artinstitutes.edu/atlanta PG 8 • insiteatlanta.com • December 2006

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Retail

INsite’s Holiday Gift Guide Great Gift Ideas for the Season! Blick art materials 1165 Woodstock Rd. #830 Roswell 770-993-0240

Blick Art Materials is offering a great holiday deal on the Berkeley 4-piece table and chair combo. The table top height is adjustable and it tilts to a 40 degree angel. The table also is equipped with a Optima side tray that holds 16 compartments along with a swing arm lamp. Check out Blick for this table and more great deals this holiday season.

Come to Abbadabba’s this holiday season and pick up a pair of Vans LuckyGirl Print Slip-Ons. The perfect gift for that "offthe-wall" someone on your list. Vans' Slip-Ons with Off-theWall Sole are available in over 20 colors.

Home Concepts Norcross 770.448.8425 Midtown 404.885.1505 atlantafutons.com

Voted Best Futon store for the 11th time in 2006, Home Concepts has everything you need to accomodate guests for the holidays. Pictured is their Tubular Metal frame with pad for just $129. Home Concepts also has a full line of discounted furniture and accessories.

So you got the gift, now where do you

Psycho Sisters

Cort is known for brand-name furniture at affordable prices. They offer previously leased furniture for up to 70% off new retail. You'll find a constantly changing selection of furniture from corporate moves, model homes, movie sets, apartments, offices and executive suites. It's a smart and inexpensive way to furnish a new room, college apartment or home office. Even if you're just looking for that one chair, table or other single piece to finish off an existing room. You can furnish a 1 Bedroom Apartment starting at just $999.99!

Cort Furniture

Doraville 4210 NE Expressway 770.939.5222 Marietta 1641 Cobb Pkwy. South 770.955.4044

Psycho Sisters is the place to shop for 60’s hippie, 70’s Disco, and 80’s Rocker treasures. They are famous for buying trends and selling current mall and club hip clothing such as: Abercrombie & Fitch, Banana Republic, BeBe, Betsey Johnson and BCBG. For the holidays, check out their new selection of shoes, boots and shades.

Buckhead 404.262.3356 Roswell 770.998.2222 Little 5Pts. 404.588.9577 Kennesaw 770.423.0405 Gwinnett 770.623.0033

22 Metro Area Locations PartyCityOnline.com

Stop in at Shoemaker’s for great Holiday Savings. An enormous selection of shoes & accessories for women and men. They also offer gift certificates for those who can’t decide. Shoemaker’s is now open 7 days a week!

Little 5 Pts. 404.523.0100 Marietta 770.565.6310 Sandy Springs 404.255.5578

Abbadabba’s

Party City

go to wrap it? Party City of course! They are Atlanta’s leader for party supplies and gift wrappings. They have a full selection of gift bags, bows, and wrapping paper to make your gift stand out. If you’re planning a holiday party, they have all the tableware and supplies you need. There are even Santa and Ms. Clause costumes if you are in the holiday spirit. And don’t forget to pick up party hats and noisemaker’s before ringing in the New Year.

Binders

Janke Studios

3330 Piedmont Rd. 404.237.6331 www.bindersart.com

659 Auburn Ave. Studio G-9 404.584.0305 www.jankestudios.com

CERAMIC, MARBLE & GLASS KITS Everything you need to turn any photo or image into a truly unique work of art. With easy-to-follow instructions, the process transfers a photocopy of your image onto the tiles. Tile Making Kit • Marble Coaster Kit • Glass Tile Kit $39.99 each

Hand Blown Glass & Art Gallery located at Studioplex. Here you will find one of a kind hand blown glassware, custom lighting and gifts. As the owner and operator of Atlanta's first hot glass shop Matt Janke is active designing custom lighting, making commission pieces, teaching classes and working to bring the art of blowing and casting glass to the Southeast. They have special items like the heirloom ornaments featured for the holidays as well as glassware gift certificates available.

T-Shirt Construction Co.

659 Auburn Ave Studioplex G20 404.377.1310 buildtshirts.com

Shoemaker’s Warehouse

Know somebody who has great 'T' ideas? Then get them a gift card for the holidays! We all have that friend who constantly comes up with funny t-shirt sayings. So what better stocking stuffer than a gift card for creating their own wearable gab this holiday? Just jump on www.buildtshirts.com to order your gift card today. (And if the person with great sayings is you, this is your chance to make gifts for all your friends...)

500A Amsterdam Ave. 404.881.9301

New Year’s Kits

Holiday Costumes Perfect costume solutions for every holiday party, parade or program!

Holiday Giftwrap

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MSRP Everyday

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Holiday Tableware

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VISIT ANY OF OUR 22 ATLANTA AREA LOCATIONS � www.partycity.com PG 11 insiteatlanta.com December 2005 PG 10 • insiteatlanta.com • December 2006

Retail

INsite’s Holiday Gift Guide

The Art Institute of Atlanta

VIPcontacts.com

Give a gift certificate for a community education workshop at The Art Institute of Atlanta! Choose from workshops in cooking, interior decorating, photography, web design, and more. Cost for a class ranges from $85 to $225. Discounts are offered on multiple class packages.

VIPcontacts.com is the place to go for great HOLIDAY Gifts *TICKETS* . With their massive inventory to fit any budget, you can get seats to the hottest events including Concerts, Sports, Theater, Comedians, Family Events and so much more. Check them out online at www.VIPcontacts.com and be sure to mention the special holiday promotion to receive Free $20 Gift Card and Free Shipping when entering code inholiday.

7 Mississippi

Smoke 911

7 Mississippi is an elegant intown tiny clothing store nestled next to the famous Majestic restaurant. It is a great place to find new designer jeans and clothing to accomodate boots and shoes too cute to resist. From head to toe, pick and choose a sassy and sophisticated style of your own at 7 Mississippi.

The Volcano Vaporizer featured is the newest and most advanced development in the area of vaporizer technology. It’s the only vaporizer around that enables you to have the most freedom of movement while “smoking”. Its patented “balloons” makes this unmatched freedom possible – totally detached from the vaporizer itself so you can enjoy your herbs or favorite smoking blend. This holiday season, Smoke 911 is also offering great deals on locally blown glass pipes and bubblers, ROOR water pipes, hookahs and hookah tobacco, cigars and cigarettes, self-defense products, adult novelties, detox, Red Dawn products, hats and tshirts, incense, posters, and much more! Come check out their great selection of unique gifts items and find the perfect gift for that special someone in your life!

6600 Peachtree Dunwoody Rd 100 Embassy Row 770.394.8300 www.artinstitutes.edu/atlanta

702 Cleburne Terrace 404.892.1111(Next to Majestic)

Brazilian Wax by Andreia

80 Powers Ferry Rd. #A9 Marietta 404.454.4742 BrazilianWaxInAtlanta.com The perfect gift for yourself or that special someone in your life. Get the bikini wax made famous by Giselle and other Brazilian models. Check out their $55 Full Body Wax Special for the Holidays.

Starship

20 Metro Area Locations www.ShopStarship.com See thier selection of pre-stuffed holiday stockings. SAVE time & money! Stockings for couples: $99.99 Reg. $129.93. For her: $99.99 Reg. $117.44. For him: $69.99 Reg. $98.94. Pipe Accessories Stockings: $49.99 Reg. $63.14. See Starship for all of your adult holiday gifts! Santa may only come once a year, but they're giving pleasure all year 'round!

Inserection 12 Area Locations 404.888.0878 www.inserection.com

Find everything in adult novelties including lingerie, party & gag gifts, tobacco/smoking accessories and more. New to Inserection this season are functional erotic glass art that is sure to please. Inserection was recently voted Best Adult Video Store for 2006.

6124 Roswell Rd. 404.256.1116

Love Shack

Multiple Locations 770.556.LOVE LoveShackOnline.com

A Van Michael Cut for

$25!

Janke Studios �� Pitchers

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STUDIOPLEX

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Conveniently located between Inman Park & the King Bir th Home 659 Auburn Ave. Studio G-9 Atlanta, GA 30312

(404) 584-0305

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This Holiday Season, the Love Shack is featuring gift baskets full of goodies for the loved one in your life. Can't decide what to get, get them an assortment with a gift basket.

This That & The Other

2335 Cobb Pkwy. Marietta 770.984.8801

Voted Best Smoke Shop in 2006, this Marietta store is the place to go for all the novelties that spice up your life. If you’re looking for premium cigars like the Cohiba’s featured, they have a walk-in humidor filled with all the top brands. You will also find a ton of autographed sports memorabilia from baseballs to bats, footballs to jerseys. Plus they have plenty jewelry, cards, incense, aromatherapy and more. Check out their new DVD Room with more than 10,000 selections at $12.99.

PG 13 insiteatlanta.com December 2005

PG 11 • insiteatlanta.com • December 2006

The Arts

WANTON DISTRACTION Skewed Views On Entertainment News

• In a shocking turn of events, Britney • In a recent interview with CHUD.com's Devin Faraci, Shawshank Redemption Spears and Kevin Federline have filed for divorce. All had hoped that after her 52-hour writer/director Frank Darabont expressed marriage to Jason Alexander, Britney had bewilderment over the rejection of his script for the long-rumored Indiana Jones 4. While found true love with her former backup dancer. All had director Steven hoped that they Spielberg loved would be our Darabont's approach, childmodern-day Sonny & Cher. hood-destroyer George Lucas And while I think I've used simply said, up all my avail“Yeah, I don't think so. I don't able sarcasm like it.” Insiders already, I can say with all honclose to the proesty that at the duction say that Lucas didn't very least we all even read the hope K-Fed leaves this Earth script, and as soon as possiwants to make ble, preferably the film with a by running into completely a large object at digitial Indiana Cruise and Wagner, all smiles after high speed. Jones. When taking over United Scientol... er, Artists. pressed for • The Parents comment, Te l e v i s i o n Digital Indy Council, a conservative group that monitors responded, “Meesa hopesa Mista Harrison television programming for offensive conFord dies soon! Meesa can't wait to destroy tent, has released their list of the most and another classic franchise!” least suitable programming for children ages • British actor/comedian Eddie Izzard 2 through 17 (no, that’s not a typo). Apparently both your angst-ridden teen and reportedly walked off the set of the upcoming your barely-coherent toddler will both love season of 24 after only one day of filming. NBC Sunday Night Football and American Apparently, Izzard was shocked to find that Idol but just aren't ready for Lost or House. his character's name was “Generic Foreign The council concludes that children like the Villain,” and that his part would consist of mostly getting yelled at by Kiefer lack of hatches and smoke monsters in NFL football, but that Hugh Laurie is confusing Sutherland’s Jack Bauer before getting shot to our nation's youth. Thank goodness for in the face. Simon Cowell, who lets us know right up front that he really is British... and a dick. • Ben Affleck, who recently received good buzz for portraying former Superman star • MGM has asked Tom Cruise and his longGeorge Reeves in Hollywoodland, has stated time production partner, Paula Wagner, to that he will never play a superhero again because he was so humiliated by the experirun their old studio, United Artists. Cruise/Wanger were recently let go from ence of playing Daredevil three years ago. Paramount by Sumner Redstone (chairman For those keeping track, that means Affleck of parent company Viacom), who stated that was more humiliated by Daredevil than he “Stars don't make a picture, the script does,” was by Forces of Nature, Reindeer Games, A note to Mr. Redstone: Does this mean that Pearl Harbor, Surviving Christmas and writers will Gigli. now be making • In a related $20 million story, Nic Cage, paydays and get top billing, who has wanted while actors are to be in a supertreated as interhero film for changable parts years, thanked that people Affleck for his don't really comments, takgive a rat’s ass ing Daredevil off about? No? the table and Okay, then you allowing him to can shut up play the biker now. tattoo that thought it was a • F o x story, Ghost Rider. News anchor Brit Hume Michael Richards, blowing his chances • Former N'Sync r e c e n t l y to be the NAACP’s new spokesman. blamed his netmember Lance work's ratings Bass has coined decline on the the term fact that “the news this year has been less “lanced” for gay celebrities who are outed by the media, as in, “Neil Patrick Harris and compelling.” Hume hopes that the new Democratic congress will start eating aborted T.R. Knight were recently lanced.” Apparently the term didn't take when referfetuses while burning flags and making voodoo dolls of our troops. That, or that perring to what doctors do to boils, or what Bass haps a pretty white girl will go missing. We'll does to his lovers. keep our fingers crossed for you, Brit, in your time of need. • This just in: Michael Richards doesn't seem to care much for black people.

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Opens Nationwide December 20! PG 13 • insiteatlanta.com • December 2006

THE BOOK ON DANIEL DANIEL CRAIG PUTS THE BOND

FRANCHISE ON HIS BACK

e've taken Bond as far as we could go, as far as fantasy,” explains Barbara Broccoli, producer on seven James Bond films, including its most profitable (Die Another Day) and its most potentially risky (the just-released Casino Royale). So, to combat invisible cars and Denise Richards, Broccoli and director Martin Campbell chose to reboot the series from the ground up. They wanted something rawer, more relatable, more relevant to the times. In short, less shaken and stirred, more battered and bruised. Who they found to play a less-refined 007 was Daniel Craig, a largely unknown actor who didn't reach mainstream America's radar until his scene-stealing part in Munich. “He's much more realistic,” says Campbell, who also helmed 1995's GoldenEye. “He's a Bond that bleeds.” He also acts pretty damn well. What we're seeing now doesn't appear to be any act, though. The 38-year-old Brit looks concerned about how the masses will accept him portraying the man with all the gadgets and girls. But unlike hasty haters on the ‘net calling for his blond head, we've actually seen the movie. Craig's quite dapper. Still, if Broccoli and Co. are to do two more prequels (as some predict), his Bond has got to kick some serious box office ass. You pulled it off... Thank you. I'll take that. What was the biggest surprise about being Bond? I don't know what the biggest surprise was. Well, this is the biggest part. However much you plan and think about the interest, it's times 10. It's great that there's that much interest. At the beginning I started to get some criticism in the internet and through the papers. It was a lil' bit disconcerting. I thought, “Well, you haven't even seen the movie yet?” But I get it. There's a lot of passion about Bond. It's very close to people's hearts. What do you think the enduring appeal is about Bond? Ian Fleming created a great character. Whichever way you look at it, he sort of set something up when he wrote this book that Sean Connery personified and made real. That has lasted a long time. The way [the franchise's overseers] chose to adapt to the times -sometimes things may have been overly trendy- [shows] how it's always had its eye on the world around it. It's an ancient character. Every culture's got the lone warrior who's gone after bad guys and fighting for justice. It's a very, very old character. It's just how you adapt it. This is a really different Bond. Did you strip it down to its essence and build it back up in your image? I wouldn't have done this unless I could have stripped it back to something. I wouldn't have done it unless we were going to discover something about him. I certainly wouldn't have done the film unless I could find some change in the character within the movie. It's all very well saying it's back to basics, but I needed to see this character go through something so it could get somewhere. There's no point in doing another movie unless we've actually achieved something in this movie

PG 14 • insiteatlanta.com • December 2006

which sets it up. But that doesn't mean I didn't look at the lineage of what we had and totally respect what's gone before. I watched every, single movie over and over again because I didn't want to miss a trick because they got it very right sometimes. I wanted to make sure in this movie we got everything that [said] “Bond.” I wanted somebody who was foulable, somebody who audiences look at and say, “This guy makes mistakes and it might not go right.” Thematically, that's just more interesting. How many injuries did you get? We heard you lost a tooth… I lost a cap. It was the first day and I got smacked in the mouth. I said, “Oh sh--! Will you hold that?” I just carried on. I got bumps and bruises. We had pain killers. I pulled [some tendons, too]. The movie appears less sexist than it has in previous offerings… Damnit! Was that a conscious decision to do that? Absolutely. When it came to casting Eva [Green, who plays love interest Vesper Lynd], she's a great actress but she has this sort of innate intelligence and this mystery she carries with her. I think it's possible that if you have someone that's an opposition to him, it is possible for him to be more sexist because that's sort of part Bond. If you have someone that can kinda come back at him, it's just more exciting. I know Eva hates the term “Bond Girl,” but I think she's more than that. It's a rounded character. What do you think about how the Bond girls were depicted in the past? Well, times have changed. I think if you look at the early ‘60s, Sean Connery behaved in a way that isn't acceptable now. I think he'll be the first one to admit it. Have you heard from any of the former Bonds? Pierce [Brosnan] has been wonderful. He's been incredibly supportive. We had dinner with him last year. I talked to him and he just said, “Go for it.” And Roger Moore said he's pleased, too. It's been very positive. It's very supportive. And it came at a time when there was some negative response coming [from the media]. So that was some positive response. I was very grateful. So you've heard from all of them? Pierce is the only one I've spoken to. I've only heard what's been reported in the press on the rest of them. Looking back at your career thus far, do you like the pace that things have happened? It speeded up just recently. Look, I've been very lucky. Over the past couple of years, I've worked with some of the best directors and best actors around. I was kinda hand-picking the work I was doing. I was very, very happy with my predicament. This came along and it was out of the blue. I was not expecting this at all. It was one of

those things– and it's really easy to see in hindsight– that I said, “If I don't do this, I'm going to regret not doing it.” Whichever way you look at it, this is one of the biggest icons in movie history. To not accept it as a challenge would have really bothered me. All along, I was just waiting for the script. When the script arrived, I read it and said I could do something with this. Like I said, it's easy to say in hindsight that it was an easy decision, but it wasn't that easy. This was a life-changing decision. I think it has to be. It's life-changing in lots of ways, not just careerwise. Because of the exposure and because of the fact I've always tried to be as private as I possibly could. I'm still a very private person and think that personal privacy is a human right. There's not a question of it. It's a non-negotiable subject. But I realize I will lose some. It's a question of protecting that of my family's and that of my friends' because they're not a part of it. That's the negative, but really, that's the only negative. The rest of it, well, I get nice suits. Now that more people are going to see you, is there a particular role you've done in the past that you'd like for people to rediscover? There are a few things I've done I'd like for people to see. Layer Cake I'm very proud of. There's a film out now called Infamous which I'm very proud of. Did you have a sense of the backlash happening with you being Bond? Umm, to a degree, yes, but not necessarily to the degree that it did. I don't think you can ever plan for that. I don't think you should ever plan for that because I think you'll get paranoid very quickly. I was trying to remain as un-paranoid as possible. While we're on the negatives, you have to worry about typecasting, right? It's not a bad job to be typecast in, really. I hope I can [break from the Bond role]. I don't know if it's possible. I'm going to carry on reading scripts. If I see something, I'm going to go do it. I'm not going to go and do something that's completely the opposite just so I can go, “I can act!” I did that ages ago. What's the best advice you got? Ask for more money next time. Any word on the next Bond? With all being well, we might start shooting at the end of next year, but the issue at the moment is getting this one out the way. There's talk. We talk about it all the time. But there's nothing to report except for, if this goes well, we'll do another one. –DeMarco Williams

STRANGER IN PARADISE THE GRADUATE THE LEGENDARY DUSTIN HOFFMAN ON WILL FERRELL & CREATIVE FILMMAKING

oday is a big day for me. If it were just my first press junket, that would be one thing. But I'll soon be in a room with my favorite actor of all time: Dustin Hoffman. I first saw The Graduate when I was 16, and even after seeing hundreds of films since, it's still easily my favorite film. Other classic films like All the President's Men, Midnight Cowboy, Straw Dogs and Tootsie all serve as a reminder that I'm going to be in a room with a living legend. After a brief hiatus a few years back, Hoffman is applying his prodigious talents to everything from mainstream fare like Meet the Fockers and Runaway Jury to more offbeat films such as I Heart Huckabees and his latest, Stranger Than Fiction. One of the lines you have in this film is that life can either be a comedy or a tragedy. Is that a philosophy you personally adhere to in your work? Personally, I think it's a surreal comedy. I think it's Beckett. The older I get, the more I think that the Surrealists weren't that “surreal” after all. They were real. IWe're on this thing called a planet, going around in a circle, and it just keeps going around, and it's just nutty. And God is just a presence or however you want to believe and he tells you, “I'm gifting you with (supposedly) the greatest intellectuality of any one of my species and I'm giving you this wonderful this called life… That's the good news. And the bad news is that you can be taken out at any time.” If you think of God as a writer, I'd like to know him just on an artistic basis. That's my kind of black humor. In the film, your character clearly prefers art to life. Given the choice, which would you choose? Well, I do like the character I play because I've known people like this in real life fairly intimately, and the [character's] intellectual side seems to have pushed the emotional part right out of the room. And that line we'd always hear when I was in my twenties, us unemployed actors: “The room is on fire, and you only have time to save the Mona Lisa or this scraggly alley cat…” and we'd sit around and argue that over a joint and some wine. I would like to think that I would pick life, because I intellectually would like to believe that art is just all of us guys imitating God. They asked me to do a master class in London when we were promoting this movie for the British Film Festival. It's kind of Lipton-esque, where you sit there and she asks you questions and you take questions from the audience. One of the questions was, “How is Hollywood different than when you started out?” What was your answer?

I said, “Well, you didn't have video, you didn't have these kind of budgests, you didn't have studios that were only interested in hitting home runs. They'd put out a movie and be happy with a single or a double. And you had word of mouth.” I do think there are exceptions, like Little Miss Sunshine, which is one of my favorite movies. I said that Hollywood practices legal euthanasia, because the movie opens on Friday. From the first performance, they get the tally nationwide, and before Friday night is over they know what it's going to make that weekend. Since they know what it's going to make that weekend, they know what it's gonna drop the second weekend. And then they have a sense of what it's going to do domestically before Saturday even comes. That's euthanasia! They put a film out of its misery. I'm not going to criticize studio heads, because if I was a studio head I'd be scared shitless. You make a couple of mistakes and you're out. Do you now have a tendency to go for these stranger pictures? Well, the guy who wrote this picture, Zach Helm, wrote a film called Mr. Magorium's Wonder Emporium. He directed it, and it was the first thing he ever directed, and after I did Stranger he asked me if I wanted to play the part [of Mr. Magorium] and we talked about how to approach it. It's a fantastical film; it takes place in a magical toy store, and the guy I play runs it. I think he's really a great young talent, Mr. Helm. In the end, we went with an eccentric hairstyle and eccentric clothing and sort of a way-out character. We heard that you've started doing left-of-center films like this because you wanted to work with people who do good work. I stopped working because I didn't like the scripts that were being offered to me. I had such an unusual career because I started with The Graduate, and I didn't understand how rare that was. It was the greatest director around, a great screenplay and the first great movie, and technically it just stands up. We rehearsed for a month, and no one gives the director permission to rehearse anymore because the crew is hired and the studios think, “They're hired? Then we're shooting! They're not doing anything and we're paying you?” But he got away with it. And Schlessinger got away with it a year later when I did Midnight Cowboy, so I thought, “Oh! Movies aren't that much different fromplays.” But then I learned that's not true. But then I got my choice of scripts. I was lucky. But as one gets older; these leads are written for people in their twenties and thirties; less in their forties. It’s worse for women. You see someone like Meryl Streep or

Emma Thompson and they're defying gravity. It's extraordinary. By the fifties and sixties, we tend to support the lead unless you're developing stuff

yourself. So the criteria I had was out the window. Before, I could afford to only say yes if there was a variety of factors: Who's the director? Who's the cast? What's the part like? Is it a good script? I could pick. Then, what there was for me to pick– whether it was a lead or a supporting role– I didn't like. And then I turned around and it was three years. My wife said to me the magic words, “Why don't you just throw all that criteria out the window?” We've been married 30 years. I said, “What do you mean? What about the part?” And she said that I'm only really happy when I'm working with people who are creative, and I should make that my only criteria. That's been the best advice in my movie-making experience. After doing so many roles, what kinds of film are challenges and which are disappointments? Spielberg, who I've known for years and years, told me that he still throws up on the way to work on the first day. Sugar Ray Leonard told me the same thing. He told me he threw up before every fight. You're driven by fear. I know I am. Because I think…well, you want a great example? Greg Lougainis was the greatest diver who ever lived, I think. And then he made that one basic dive where you jump off the board and, when you come down, you try to come as close to the end of the board as possible, and he hit his forehead right on the end of the board. I remember seeing it and thinking, “There it is! That's how close you are from getting a 9 versus getting a 0.” And you're aware of it when you're working. Was working with Will Ferrell what you expected? No. I expected him to do a big performance similar to what he had done. I’d never met him before, and the first thing I thought about him was that he was very shy and guileless. I went up to the director and said, “What brilliant casting!” I mean, Will actually says “Gosh.” I've never met an actor who says that! He's like that. But he was acting. And in the third or fourth take in the first scene we had, I literally backed up and said “Uh-oh, he's more real than I am.” I told the director that [Will's] working very subtly and I better match that, and the director agreed that he was showing me up. I think he's an actor. Did he ever do his James Lipton impression for you? I've never seen it. I've seen his George Bush, which I think is brilliant... –Matt Goldberg

PG 15 • insiteatlanta.com • December 2006

Entertainment

MOVIE REVIEWS BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN - The problem with most films

rooted in sketch comedy is that the characters are too one-dimensional to hold up 90 minutes worth of material. Borat Sagdiyev- Sacha Baron Cohen's clueless, sexist, racist, homophobic faux Kazakhstani TV reporter, whom he originated in sketches on HBO's Da Ali G Show- has no such issues on this wild road trip into the heart of America. In fact, like a commuter stuck in a traffic jam caused by a train wreck, you'll likely find it impossible to look away. The set-up is brilliant: Borat is sent to America to film a documentary about the “U.S. and A,” landing in New York completely unaware of our nation's rules of etiquette. Whether kissing unsuspecting men on the street or letting chickens loose on the subway, Borat is the prototypical fish-outof-water. What makes his antics all the more hysterical is the fact that he's one of only two characters in the film who are in on the joke (the other is his rotund producer, played by Ken Davitian). When he discovers Pamela Anderson via Baywatch reruns, Borat heads off to Cali hoping to woo her, armed only with a junk ice cream truck and an ever-present camera. Along the way he interacts with a broad spectrum of unwitting interview subjects and tackles every taboo subject you can imagine, and the results will leave audiences literally crying with laughter. He tries to buy a gun specifically for killing Jews (Cohen is Jewish in real life), and only gets turned away because he's not American. He endures a rodeo owner telling him to shave his moustache so he doesn't look so much like a Muslim terrorist, then leads the rodeo crowd in a cheer about killing every man, woman and child in Iraq. He goes to a posh dinner party in the South, excusing himself to go to the restroom and returning with his poop in a clear plastic bag. And, perhaps most disgustingly memorable of all, he and his grotesquely obese producer engage in fully nude Greco-Roman wrestling in front of a crowd of mortgage brokers. Make no mistake: Borat is rude, crude, sophomoric and almost always offensive. But it's also the funniest mockumentary in years. (A) -B. Love

BOBBY- A stellar cast, including 22 members of Hol-

lywood's “who's who” (Anthony Hopkins, William H. Macy, Christian Slater, Sharon Stone, Elijah Wood and Demi Moore, among others), captivates audiences in this film written and directed by Emilio Estevez. The story is told through the eyes of fictional characters whom were at The Ambassador Hotel the day Senator Robert F. Kennedy was killed. Kennedy is shown through historical footage and still photographs, reenacting the last moments and speeches of his life and run for presidency, which were prematurely ended by the very same acts of cowardice and violence he so publicly railed against. Still recovering from the assassination of Martin Luther King, Jr., Bobby emphasizes the state of the America at a time when America reeled from violence overseas and on our homeland. Bobby is more than a biographical look at the end of RFK's life. This film is grandiose in its portrayal of RFK's idealism, his heart, and his true love of all people. For those Americans and people around the world who witnessed RFK's assassination on that dark day in 1968, either in person or via media footage, the emotions they felt that day have now resurfaced. For those of us who came into this world afterward, we have finally seen a glimmer of the man behind the politics and have been more educated as to the events surrounding his death. For all people, Bobby inspires us, encourages us, and challenges us to embrace RFK's purpose, his ideals, and his plan for a greater America. Despite shaky (and somewhat comical) appearances by Ashton Kutcher and Lindsay Lohan, overall the ensemble cast carries the film and brings relief to the heavy, underlying political tones, allowing the audience to connect on an emotional level. (B+) –Tracey Gould

CANDY- In case you didn't get the memo, Heath Ledger

wants to be taken seriously as an actor, and his first post-Brokeback Mountain role seems explicitly designed to make sure audiences don't forget it. Ledger stars as a poet whose love for a gorgeous artist (Abbie Cornish) is exceeded only by their mutual love of heroin, and the story tracks their soul-wrenching downward spiral into the hellish abyss of addiction. It's a gritty, graphic, tragic tale we've seen many times before (most notably in Requiem For a Dream), but the full-on commitment of the two leads saves director Neil Armfield's debut despite the thinness of the material. Ledger makes the most of his risky role, while Cornish proves one of the year's most promising newcomers as she follows the path to her own ruin like an Aussie Alice slipping down a drug-induced rabbit hole in which she must turn tricks to pay for their next score. Still, the film doesn't offer any new insights on the subject of addiction, and we never get a true feel for what drove these beautiful creative types to drugs in the first place. In the end, despite some intriguing visuals it all feels like a bad trip– a bit gratuitous, romanticized and unnecessary. (C) –B. Love PG 16 • insiteatlanta.com • December 2006

CASINO ROYALE- Bond, what in the hell are you doing shooting up an UN African assembly in broad daylight? Don't you know that part of a 00's job description is stealth, and handling situations with a gentle hand? You're down in Madagascar, chasing some acrobatic goon around construction sites and the aforementioned government facility, and then you're killing people on surveillance tapes?! “I knew it was too early to promote you,” laments Bonds' boss, M (Dame Judi Dench). But what could one expect? Bond (Daniel Craig) is eager to prove his worth, and though some of his methods prove hasty and a bit unconventional, his sole mission is to make the free world a safe place… okay, and to shag exotic chicks, snag tailored suits and wag around in futuristic Fords. Sounds like the 20 other Bond flicks, right? That's just the thing: The minds behind the beloved spy franchise knew the series needed a pick-me-up, so with this film based on 007 creator Ian Fleming's first book from '53, they reinvented things. In a sense, Casino Royale is actually a prequel, letting us know how Bond becomes Bond. (For time’s sake, we'll look past the fact that this “prequel” revolves around funding terrorists and playing a high stakes game of Texas Hold'em.) But even if the timeline doesn't necessarily add up, the choice of Craig as the new Bond certainly does. Though lacking the looks of Pierce Brosnan or Sean Connery's suaveness, Craig more than makes up for it in manliness. He's gritty. He's approachable. He's very post 9/11. Unlike past Bonds, this one makes mistakes, gets kicked in the balls and falls in love. The intelligent, slightly mysterious Vesper Lynd (Eva Green) is the one who has James strongly considering tossing his player card into the Venetian waters. Seeing Bond smitten isn't the worst turn in the script, actually. The Lord of the Rings-ish mock endings, however, are another story. Director Martin Campbell doesn't seem to know when to shout “Cut!” (You will, about 15 minutes before the credits roll…) And that's too bad, because this one could’ve been really special. Mads Mikkelsen is super as the creepy, blood-weeping baddie, Le Chiffre. Jeffrey Wright is terrific for the 10 minutes he's seen at the card table. Wisely, the camera stays on Craig, and the new jack many Bond fans worried about never flinches. So, M, all things considered, maybe it wasn't too early for that big promotion. (B-) –DeMarco Williams

CHILDREN OF MEN- Twenty years from now every

woman on earth will be infertile, Britain will be completely overrun with anarchists, dogs won't stop barking, and the major issues will be immigration and terrorism. That's what's at the heart of this dystopian thriller, based on the 1992 sci-fi novel by P.D. James. In the film adaptation, Theo (Clive Owen) is a disillusioned former activist drawn into an escape plot by his ex-wife (Julianne Moore), the leader of an immigrants' rights organization. He’s charged with the task of protecting a pregnant refugee– the only pregnant woman on earth– named Kee (newcomer Claire-Hope Ashitey). Together, they dodge a host of precarious situations in hopes of getting to a pick-up point for this scientific research organization called The Human Project. This is undoubtedly an action-packed movie, with lots of shooting and blood and “Oh shit!” sequences. It's quite a noisy flick as well; for some reason, there are more dogs barking in it than any movie that's not about dogs (probably more than any movie that is about dogs, too). Writer-director Alfonso Cuarón (Y tu mamá también, Harry Potter/Azkaban) is fantastic in his creation of the environment and the violent scenes. Even without a plausible explanation for the backdrop, you're drawn into the action because the script moves well, alternating between tension, comedy and brief dialogue, with no unnecessary sentimentality to boot. (At least, not until the end.) Add to that an adept cast, particularly the great Michael Caine lending a bit of comic relief as a gregarious hippie stoner replete with John Lennon glasses and a thumb for green. What doesn't work, however, is all the political propaganda and religious metaphors, which don't meld with the story's main issue of human extinction. eneral suspension of logic aside, the storytelling is a bit gappy in that you never find out exactly why or how Britain became so chaotic. Sure, people can no longer procreate, but would that really cause otherwise normal people to wantonly throw liquor bottles and set fires? And if the country is that aberrant, why are the deportation buses so choked with

Soup’s on, but you do NOT want to try the grapes in Guillermo del Toro’s dazzling Pan’s Labyrinth. immigrants? They can't possibly want to be in a country so grey! What's going on in America? And what's with all the damn dogs? On the other hand, with a December 25 release date, they couldn't very well put out a movie without that good ole manger tale of yore. Still, Clive Owen is far too fine a lead for so-so movies like this and Derailed. Too bad he couldn't have been our next Bond. (B-) –Andrea M. Hatter

DECK THE HALLS- There's a reason they only hold

Presidential elections and the Olympics every four years: If they didn't, they’d become very tiresome, very quickly. Yet every holiday season we're treated to a new Christmas movie which will, at best, be watchable only once a year at that time when you've been so assulted with holiday cheer that your brain has been reduced to mush. But tradition being tradition, Fox has decided to smack us around a little with Deck the Halls. For those where the plot is the deal-breaker, I'll quickly summarize: Matthew Broderick is Steve Finch, “The Christmas Guy,” an optomitrist consulted at the beginning of the film by the crew putting up the Christmas tree in the middle of town. But, oh no! Here comes Buddy Hall (Danny DeVito) and his family. Buddy challenges Steve's title by putting tons of lights on his house so that it can be seen from space. This eyesore from across the street sets off a war between these two dads, while their families look on in horror. So Steve is trying to beat the Halls. Get it? The title is a pun! Dear God, the title is a pun. Listen, a guy who covers his house in lights is not a motion picture: It's a YouTube video, and you've already seen it. It's a guy who synchonized his light display to Trans-Siberian Orchestra's “Wizards in Winter.” If they’d gotten someone with even half the imagination of that guy, this movie might have a little bit of spark. But instead we have John Whitesell, the creative mastermind who brought you Big Momma's House 2 and Malibu's Most Wanted. The guy doesn't even know who he's making this movie for. The rating may be PG, but you'll be sure to get jokes about morning wood and a 10-year-old horny for the Halls' Doublemint-twin daughters. I'm sure some of you are thinking that it's just a fun family movie, but it's not: The screening I attended had loads of kids, and the biggest laughs came when Danny DeVito fell down. Kids can't argue with slapstick. But when kids can stay home and enjoy far superior films like A Christmas Story or the more recent Elf, there's no reason for this half-assed “comedy” other than a half-hearted cashgrab that hopes you're too desperate over the holidays to find something better. But you're not, and this film will quickly find its way to the dollar-bin, where it belongs. (F) –Matt Goldberg

DÉJÀ VU- Wanna know the secret to enjoying the lat-

est pairing of director Tony Scott and his favorite go-to leading man (see: Crimson Tide and Man On Fire), Denzel? Check your logic and reasoning at the door, 'cuz some preposterous shit is about to go down. The film is marketed as one of Scott's typical adrenalinecharged action epics. But what you get instead is heady, intentionally confusing techno-babble about some sort of new invention that allows a team of federal investigators (led by Val Kilmer) to watch the events leading up to a massive terrorist attack that left over 500 dead as they unfold, in real time, four days in the past. It's like the time travel equivalent of TiVo, providing the agents unlimited access inside any home, any building, even the ferry that will be rigged with explosives to blow up in the middle of the Mississippi River if Denzel and company can't figure out a way to change the past. Like I said, this is some preposterous, unbelievable shit. The film's New Orleans setting can't help but lend an air of shell-shocked realism to the proceedings. The first movie shot in the area after the devastation of Katrina, Déjà Vu's explosive opening sequence (intentionally) evokes memories of American tragedies ranging from Oklahoma City to 9/11, with debris covering everything as far as the eye can see, dead bodies lining the streets and worried families desperately anxious for some news- any news- of their loved ones' fates. When the film unveils its most unreal sci-fi silliness, Denzel stands his ground as the voice of reason, questioning every ridiculous revelation with disbelief. Even if you never quite buy into the time traveling conceit, his dramatic gravitas will make you want to. Unfortunately, despite his leading man's best efforts, Scott's latest film is really just a conventional action flick beneath all the smoke and mirrors. Despite some nifty special effects, a chase scene is still a chase scene, an unexplained love is still an unexplained love, and a caricature of a terrorist (Jim Caviezel) is still just another excuse for producer Jerry Bruckheimer to blow things up. (C) -B. Love

DREAMGIRLS-

Turning Broadway hits into blockbuster movie musicals is a notoriously risky business, but few filmmakers are as qualified to give it a go as Bill Condon, whose adaptation of Chicago earned him a Best Screenplay Oscar nomination back in 2003. To start with, he enlisted a knockout cast that includes Oscar-winner Jamie Foxx, Grammy-winner Beyoncé and Eddie Murphy, in what is arguably the most remarkable performance of his career as waning soul legend James “Thunder” Early. He's also got a sizzling, gospel-influenced R&B score that includes several new songs by composer Henry Kreiger (who co-wrote the original with the late Tom Eyen), not to mention a sensational story about the pitfalls of selling one's soul in the name of greed. That story, for those weak on music history, is loosely based on the rise and fall of The Supremes, whose original lead singer Florence Ballard was replaced by Diana Ross, whom Motown founder Berry Gordy found prettier, skinnier and more likely to cross over to white audiences. In Dreamgirls, ambitious car salesman-turned-talent manager Curtis Taylor Jr. (Foxx) replaces sassy, brassy belter Effie White (Jennifer Hudson) as lead singer of the Dreams with her childhood pal and backup singer Deena Jones (Beyoncé), for essentially the same reasons. Set in Detroit against the backdrop of the Civil Rights movement, the story follows the group's struggle for equality in a music industry that allows white artists to co-opt black music and water it down until it's deemed fit for mainstream consumption. But the only color Curtis sees is green, and with Deena as his malleable wife he begins to drain the color from the Dreams so they can play white clubs, top pop charts and live Hollywood's champagne wishes and caviar dreams. From the flashy costumes and lively music to the performances themselves, the group's razzle-dazzle rise is truly a wonder to behold, with audiences literally cheering the musical

serve to obfuscate what is essentially a classic tale of tragic love, as Tom desperately tries to find a way to save his dying wife. Aronofsky's trademark spellbinding visual motifs are here in spades, but far more potent are the performances, particularly Jackman's turn as a man for whom love becomes a grief-stricken obsession of almost toxic power. In the end, though, Aronofsky's audacious ambitions never quite gel into a truly cohesive story. At an all-too-brief 96 minutes, one wonders if the director couldn't have used a bit more time to explore the immortal essence of a love that spans 1,000 years. (B-) -B. Love

HARSH TIMES- David Ayer's (writer of Training Day)

numbers as if it were still the '80s, and Jennifer Holliday was still tearing the roof off the sucker on Broadway. Which brings us to Hudson, making her big screen debut in the role that earned Holliday a Tony Award. As Effie, the former American Idol contestant grabs you by the balls and rips your heart in two, delivering a gutsy performance that begs for an Oscar nomination and an emotionally devastating take on “And I Am Telling You I'm Not Going” that dares you not to feel every last word in your bones. She's arguably the brightest light in a mesmerizing film in which every single member of the cast and crew gets their moment to shine, making this a tough frontrunner to beat for Best Picture honors. (A) -B. Love

FOR YOUR CONSIDERATION- This behind-the-scenes

Hollywood mockumentary comes from the minds of Christopher Guest and Eugene Levy, the same creative team behind the hilarious A Mighty Wind and Best In Show. Their latest, largely improvised effort finds them attempting to broaden their scope by making a filmwithin-a-film, but this one fails to live up to the standards set by their previous work. Catherine O'Hara is brilliant as Marilyn Hack, an over-the-hill actress who hears an internet rumor that her performance in her latest film, Home For Purim, may earn her an Oscar nomination. As this rumor becomes full-on Hollywood buzz, it affects the neurotic cast and crew of Home For Purim in various ways, but the film's attempts to poke fun at the industry doesn't always work. The truth is, most audiences aren't secretly longing to see a movie about a bunch of neurotics making a movie. It's the same problem that's making NBC's heavily-hyped Studio 60 on the Sunset Strip such a tough sell. Hollywood is hopelessly narcissistic, even when it comes to making fun of itself. It's a pity, too, because the women in For Your Consideration work their asses off and have moments in which they really shine. The aforementioned O'Hara's performance is subtle and --dare I say it?-- worthy of an award, while recurring Guest/Levy ensemble members Jennifer Coolidge (the clueless, crazy executive producer) and Jane Lynch (host of an Entertainment Tonighttype show) are also very funny. The film's one-liners are often very witty, yet, for all the considerable comedic talent that this film has going for it, For Your Consideration falls flat, especially in the final act. Blame Guest's direction, a lack of cohesive overall vision, or just too many goofy ideas, but even a cameo by Ricky Gervais can't save the film from being little more than a mediocre addition to the Guest/Levy canon. (C+) –Marc Fitten

THE FOUNTAIN- If you're the sort of theatergoer who

prefers their cinema served up in easily digestible bites that taste great with a vat o' popcorn, chances are very good that the latest film from indie auteur Darren Aronofsky is not your cup of carbonated beverage. Which is not to suggest that it will prove any more palatable to the effete snobs who made Aronofsky's previous films (Pi, Requiem For a Dream) into modest art house hits. Truth is, the writer/director's 6-year labor of love (which is documented in detail elsewhere in this issue) is the cinematic equivalent of Don Quixote tilting at windmills, and your ability to appreciate his distinctive sci-fi vision will largely depend on your belief in the valor of dreaming the impossible dream. Plan to be completely confused for a good 30 minutes, as Aronofsky gradually connects the dots tying the story of a 16th-century Spanish conquistador searching for the Mayan Tree of Life for his Queen and the story of a 26th-century space traveler finding the Tree in a giant translucent bubble to the modern-day tale of scientist Tom Creo (Hugh Jackman), who's conducting radical experiments to find a cure for the cancer that threatens the life of his novelist wife Izzy (Rachel Weisz). Flipping from one story to the next seemingly at random, the film's eye-popping bells and mind-bending whistles

directorial debut focuses on two friends (Christian Bale and Freddy Rodriguez) and their true-to-life experiences in the rough neighborhoods of urban L.A. As the whitest guy I know (my daily vocabulary actually includes the word “gosh”), it may be impossible for me to ever connect to the world presented in the film. However, the awkward performances of the film's leads certainly didn't help. Drawing from his life experiences, Ayer tells the story of Jim (Bale), a recently discharged and slightly insane Army Ranger, and his friend Mike (Rodriguez). Both men are looking for work as they tumble back and forth between the immaturity of lazy youth and the responsibilities of starting new careers and managing adult romantic relationships with their respective girlfriends. Harsh Times shows that Ayer certainly has as much talent for directing as he’s proven for writing. While there's nothing groundbreaking in the film, he manages to capture a constant string of dualities which run throughout. Love and violence, selflessness and selfishness, maturity and immaturity, all parallel nicely to the multiple conflicts which run throughout the story. Ayer also manages to capture the gritty L.A. environment, though there's nothing here that hasn't been done before and done better in just about any episode of The Shield. Still, it's a competent film, and it's clear that Ayer's big focus is on his actors. Unfortunately, they let him down. To begin with, Bale's character is supposed to be 26 years old. The dude can transform himself like crazy, with The Machinist and Batman Begins at both ends of the weight scale, but 100 syringes full of Botox couldn't convince me that Bale is a day under 30. But the real nail in the coffin is in the delivery. Jim and Mike don't sound like they grew up on these mean streets. They sound like they grew up playing one too many games of Grand Theft Auto, and no amount of “dawgs” and slang can wash away the appearance of posturing. What's shocking is that both Bale and Rodriguez are talented actors, but Bale is too old and gritty to be playing a reckless young thug, while Rodriguez' soft features and slumped posture make the character seem so laid-back that he almost lacks a pulse. Only when pushed to extreme situations does Mike ever seem to come alive. But the other 95% of the time, Jim and Mike seem like two guys who ventured a little too far out of the Hollywood Hills. But I could be out of my element here; Ayer speaks from experience, and I speak from the experience of watching movies and television shows that resemble Ayer's experience. However, those actors manage to realistically inhabit the world, whereas these leads only provide an unrealistic foreground to Ayer's authentic background. (C) -Matt Goldberg

PAN'S LABYRINTH-

“Beautiful” and “Grotesque.” “Heartfelt” and “Heartbreaking.” “Magical” and “Genuine.” Lesser directors would find their film torn asunder trying to work with these opposing themes. At best, they could only frame these concepts as dualities and recenter the story to avoid a thematically jarring experience. Only the confident hand of one of today's best directors could not only embrace all these concepts, but mix them all together in a fairy tale that is both ancient and modern. Guillermo Del Toro does not hide from complicated worlds of moral or even existential ambiguity. He masters them and, in doing so, he's created one of the year's best films in Pan's Labyrinth. The story presents us with a brief prologue about a princess who will one day return to her kingdom in the Underworld. The story then seamlessly shifts to the tale of Ofelia (Ivana Baquero) and her pregnant mother (Ariadna Gil) who must live with her new stepfather Vidal (Sergi López), a captain in the Spanish Civil War who is as dogmatic as he is cruel. While her mother strugles with an increasingly difficult pregnancy and Captain Vidal attempts to wipe out the guilleras surrounding the camp, Ofelia wanders into an old stone labyrinth outside the camp where she meets a faun (Doug Jones). The faun tells her that she may be the Lost Princess of the Underworld, but she must prove herself by accomplishing three tasks. From there, Del Toro weaves his plotlines effortlessly. Despite the surface distance for stories about coming-of-age, the suffering presented in the Spanish Civil War and a lost princess seeking to return to her kingdom, nothing seems out of place. The confidence and precision of Guillemo Navarro's cinematography makes everything from the alternate dimension of the Pale Man (a creature truly made from nightmares) to the storehouse of the camp all seem drawn from the same world, while Javier Navarrete's melodic and haunting score blends perfeclty with Del Toro's world. Those expecting a work similar to Del Toro's previous film, the comic book romp Hellboy, should go further back in his filmography to his previous foreign language film, The Devil's Backbone, a story about a ghost who haunts an orphanege in 1939 Spain. Pan's Labyrinth is an amalgam of the two films, taking Hellboy's Lovecraftian creatures and bringing them into the magic and tragedy of mid-20th Century Spain as seen from a

child's perspective. And yet such a description sells the film short because Del Toro goes far beyond a simple reworking of his previous accomplishments. He takes various elements and transmogrifies them into something familiar, yet entierly new. Some may find Pan's Labyrinth to be a frustrating film because it lacks a clear thematic organization where they can feed at any particular idea trough and ignore the others. But Del Toro demands more of his audience, and we should thank him for delivering a film that cannot be understood morally or psychologically or aesthtically without understanding it holistically. Del Toro has embraced the fantastic and the real, the universal and the unique, and a whole host of other ideas to create a cinematic classic. He challenges us to join him in this embrace, and filmlovers everywhere should find this monster of a masterpiece a worthy challenge. (A) -Matt Goldberg

THE PURSUIT OF HAPPYNESS- It's just adorable that people still believe in the American Dream, and want to make you believe it as well. That beautiful Horatio Alger rags to riches story suggests that, if you just work hard enough, then goshdarn it, you're gonna make it in this beautiful country of ours! And if you don't? Well, then you're probably just lazy. After books like Barbara Ehrenreich's Nickel & Dimed and other framings of The American Dream as The American Delusion, how does Chris Gardner's story of triumph work? If you've seen a commercial for this film, I doubt anything in the plot will surprise you. Gardner (Will Smith) becomes a single dad after his wife (Thandie Newton) leaves him because she's the worst person in the world. Okay, that's stretching it, but she is a dream-crusher. Granted, she offers to take their son (played by Smith’s son, Jaden) when she leaves, which is more than that bitch Meryl Streep ever did in Kramer vs. Kramer, but other than that? Crusher of dreams. Gardner has a crap job selling a useless piece of medical equipment, but he takes a chance on an internship at a brokerage firm. See, Chris is tenacious and smart, and though it's going to take a lot of hard work and sacrifice for him and his son, you know he’s gonna make it in the end. While the film may be trying to tell me the origin story of the one black guy at every Republican National Convention, it still allows for Will Smith to give his best performance since Ali. I applaud screenwriter Steve Conrad for making the relationship between Chris and his son authentic, rather than a hagiography. It would be too easy if Chris were mostly upbeat, and just had a good cry now and then. Instead, he shows that even the best parents lose their tempers. Chris Jr. is adorable, but he could’ve been the perfect kid, never giving his father a reason to snap. But sometimes Chris Jr. gets obnoxious, and you can see his dad instantly regretting the decision to let his child have sugar. If there's a reason to see this film, it's the real, moving relationship between a father and son. It's well-written and well-performed, and that's where credit is due. The father-son story is where the film shines, but because it brings nothing unique to that narrative, the weaker, more divisive economic story subverts the personal into propaganda. (B-) -Matt Goldberg

SHUT UP & SING- During a 2003 concert in London,

the Dixie Chicks made an anti-Bush remark from the stage and, in the span of 20 seconds, radically changed their career. Veteran documentary filmmaker Barbara Kopple (Harlan County USA), in collaboration with Cecilia Peck, brings us this multifaceted look at the incredulity and determination with which the Dixie Chicks responded to the ridiculous (one might say reactionary) public outcry against their political views. Thankfully, though, the film does not cheaply elevate the three members of the group to the status of martyrdom. Rather, it shows them for what they are: three strong women, determined to live their lives on their own terms as far as possible. As popular musicians, they

realize that their particular career entails certain business realities, which they must balance with their creative drives and personal needs. Much of the film's behind-the-scenes footage centers around efforts to “rebrand” the group to a new audience, since they have been rejected en masse by the country music industry and a large segment of its fans. Scenes depicting the gleeful smashing (even burning) of Dixie Chicks CDs inevitably call to mind the anti-Beatles hysteria that ensued after John Lennon's infamous remark about being more popular than Jesus. By the end of Shut Up & Sing, we realize that, like the Beatles, the Dixie Chicks will be around long after the controversy has faded away. (A) –Rodney Hill

TENACIOUS D IN THE PICK OF DESTINY- I tend to

receive a fair amount of envy when I tell my friends about movies I'll get to see weeks in advance. But with Tenacious D in the Pick of Destiny, it is I who am the envious one. They haven't heard the music. They await the soundtrack with blissful ignorance. They know it will be good, but they don't know that the five years since the D's first and only album have been worth the wait. They don't have songs like “Kickapoo” and “Beezleboss” still playing in their heads. I love the music, and hate my friends for not sharing in my torment. Unfortunately, the film doesn't provide the solace of advance knowledge. Even though Tenacious D (a duo comprised of actor/comedian Jack Black and comedian/ guitarist Kyle Gass) define themselves as a rock band who do comedy, their comedy here isn't quite as strong their rock. The film is funny, but the story of the band's formation and obtaining the Pick of Destiny (a guitar pick crafted from the chipped tooth of Satan) rarely utilizes the full potential of its comic leads and it certainly never reaches the excellence of the songs they play. It isn't that Black and Gass lack comic timing or chemistry. It isn't that Lynch's direction doesn't capture the fantastical themes of The D's rock. It's that sequences like Ben Stiller's cameo and a car chase leave you impatient for the next song or high-energy moment. When the film dwells in the random and the fantastic is where it tends to be the best. I don't have much desire to see Pick of Destiny again, especially when better comedies will soon be on DVD (Talladega Nights, Beefest) or still in theatres (Borat). However, now that the soundtrack has hit, I'll be playing it on a continuous loop for the next few months. (B-) -Matt Goldberg

TURISTAS- How's this for an unsual holiday film: Big brother Alex (Josh Duhamel) chaperones little sister Bea (Olivia Wilde) and her best friend (Beau Garrett) on a trip to Brazil. After their bus crashes in a mountain, the trio teams up with other stranded passengers and tourists, including an Australian named Pru (Melissa George) and two jolly Brits named Finn & Liam (Desmond Askew and Max Brown). The group decides to look around and, lo and behold, they stumble upon a deserted beach with cold beer and a fully stocked bar (remember, they were high up in the mountains), so they decide to stick around and party with the locals. Bad choice. It turns out that this is a very bad bar outside a very bad village. The lot of them are drugged and robbed during the night and, just in case the audience hasn't figured out that these young people are in a world of trouble, two extra tourists they meet at the bar are kidnapped and hacked to pieces with a machete back in the mountain forest. Apparently, this beach/forest/ mountain is home to a ruthless Brazilian doctor with a political statement to make: He's sick of the haughtiness of rich gringos. His assistant lures them to a remote mountain lair where the doctor lectures them on imperialism while hacking out their organs. He can lecture them, of course, because they’re left conscious through out the operation. Waiting for his turn while penned up in a dog kennel, haughty Alex isn't going to stand for it. Never mind the fact that he's been stabbed. His mom sent him on this trip to look after his little sister and, by golly, that's what he intends to do! As Brazilians are always shown having sex or doing drugs rather than paying attention to the prisoners, it's easy for him to break himself and a few others out of the kennels. He tries to save his little sister's best friend, but her organs have already been harvested in a gratuitously bloody scene... Oh, well. Off they go into the forest, and the second half of the movie is just a chase scene through the jungle and underwater caverns. The cinematography is quite good and, though the entire film is a horror cliché, it plays out in a somewhat unique way. The thing is, any person actually going to see this movie would know what they’re going to see. Based on that notion, this film delivers on its promise of skin and gore, and actually manages to entertain along the way. I’ve seen worse. (C-) –Marc Fitten PG 17 • insiteatlanta.com • December 2006

LOST IN TRANSLATION BORAT SAGDIYEV’S EXCELLENT ADVENTURE

aking in over $90 million at the box office in its first three weeks of release, Borat has become a bona fide pop culture phenomenon, racking up critical accolades and attracting lawsuits from pissed-off people punk'd by Sacha Baron Cohen's deliriously offensive character in almost equal measure. (Note: Just before press time, the film was banned in Russia.) In truth, there's never been another film quite like it- equal parts mockumentary, road trip buddy comedy and pratfall-filled pranks that'd make Johnny Knoxville's Jackass crew blush. But perhaps the most amazing thing about the provocative film is the way the British comedian never breaks character while improvising his way through encounters with some of the good ol' US and A's most laughable buffoons, tackling taboos ranging from racism and sexism to homophobia and xenophobia along the way. Even when promoting his movie at this year's Toronto Film Festival, Cohen maintained the character of the fictional Kazakhstani journalist. So, when it came time to interview Cohen in Los Angeles recently, perhaps it's no surprise that he chose to conduct the press conference as Borat Sagdiyev, working with pre-prepared questions from the media. Here, short but hilariously sweet, is the interview in its entirety... Can you tell us about yourself? He's not so intelligent, this one... My name is Borat Sagdiyev. I am son of Asim Balat Sagdiyev and Boltolk the rapist. I am former husband of Osana Sagdiyev, who was daughter of Mary Anne Pulakby and Boltolk the rapist. My hobbies is disco dance, table tennis and also taking photographs of ladies doing toilet without their knowledge. Why not? They do not know. I have previous work as icemaker and gypsy catcher. And I was also work in computer maintenance. I was the one who paints the outside and then remove the dead bird from its pipes. I have three children. Bilak, Biram and Hueylewis who is 12 years old. He has a two children. Bilak, who is 13, has American pen friend called Mr. Foley. He say meet in hotel room. Is nice. My sister make my family very proud by being number four prostitute in all of Kazakhstan. I also have a brother named Bilo. He is a retard with a small head, but very strong arms. He has 204 teeth - 201 in mouth and three in nose. My first wife is dead. High five! She was shoot by a hunter who mistake her for a bear because she has much hair on her arms and back. No problem. I have a new wife. But, I like cheat. Yes, I looking at you. You recently traveled to Washington to meet with President Bush. What is your opinion of our president? We in Kazakhstan very much admire your PG 18 • insiteatlanta.com • December 2006

mighty warlord George Walter Bush. He is a very wise man and also a strong man. But, perhaps not as strong as his father, Barbara. Next question. How does Kazakhstan's political system compare with America's? There are small differences between our system of politic. In Kazakh elections, for example, the winner is not the man with the most votes, but the candidate who can carry a woman against her will for the furthest distance. Our present leader can manage 4.3 miles. How long can Premier Bush? There are other differences too. In America, a woman can vote, but the horse cannot. That is unusual. We say in my country, 'To give a woman a vote is like to let the monkey fly the plane.' Very dangerous! We do not do this anymore since the 2001 Orexca air crash. Did you enjoy filming in the United States? I would like say that I liking US and A very much... I learn many things that is different than one I expect from your country. For example, I was surprised to learn it is now illegal to shoot at red Indians. I would like to

apologize with all my heart to Chief Running Deer at the Potawatomi Casino in Nevada. What American person or people would you still like to meet? I would most like to meet some of the new Hollywood starlets. In particular, Elizabeth Taylor. I would also like to meet fearless antiJew warrior, Melvin Gibson. We in Kazakhstan agree with his comments that the Jews started all wars and we also have proof that they were responsible for killing off all the dinosaurs. Also, Hurricane Katrina. They did it. I would also like to have an encounter with American football hero O.J. Simpson, who is a huge star in my country and has earlier this year visited capital Almaty, where he judged the Ms. Kazakhstan contest. Our ladies very much like this muscular man, ya? One contestant was so crazy on him that she breaked into his hotel room while he was sleeping. She then stab herself to death and covered his clothes in blood. Fanatic! Were there any specific movies that inspired your film and what films do you admire? In Kazakhstan, we are huge fannies of US of

A movies. And we have shown this by manufacturing pirate DVD's of many of them. We like movies of funny man Edward Murphy. We in Kazakhstan laugh very much when we see his chocolate face, ya? It is unusual. The color! Other American films we like are Robocop, Titanic and the sex comedy The Accused. That scene on the snookie table... What’s the status of your relationship with Pamela Anderson? I must make clear this lady, Pamela, has start to stalk me. Already this week she has sent me three love messages through her lawyer. Saying sexy things like, 'I must not go further than 30 miles from her house, mail her dirty antipants or say on my MySpace bloggings that I want to make romance inside her.' Pamela, if you watch this, leave me alones. You have a very prominent page on MySpace. What do you think of the Internet? Have you tried Internet dating? I have tried hard on the Internet to meet a nice Western girlies for chitchat and sexy times. My preferences is ladies with yellow hair, plow experience and little or no history of retardation in family. I have even offer television with remote control, a red dress and two strong shoes, all of which I will remove from the body of my late wife... Can you talk about the contributions of your producer, Azamat? I would like to pay tribute to my producer Azamat, who is fat. He is the most experience person in Kazakh film industry and in the past 20 years he has personally watched over 17 movies. He do a superb job producing my movie film, which has already been released and Kazakhstan and was a huge blockbuster. Azamat is currently producer of children's game show Gypsy Bingo, where we put numbers on the backs of 20 gypsies. The contestants have to guess which number will reach other side of minefield. What are your plans for the DVD release? The anti-communist organization Fox will be release a DVD in a spring. We in Kazakhstan will be releasing our own pirate version one month earlier. It will have everything the Fox one has and some special extras including Superman Returns and The Da Vinci Code. Why is your government so angry with Sacha Baron Cohen? I have said before, I have no connection with Mr. Cohen and I fully support my government's decision to sue this Jew. Ladies and gentleman, I think [this] press conference is over... Thank you very much, people of US and A. Very nice be here and meet you. A very honored for me and my friend Azamat to be here and to be welcomed by you. I hope later after junket you can come back to my hotel room and we can wrestle totally nude and drink and shoot dogs from the windows. I like you... –B. Love

VIDIOTS This month’s DVD

* * * PICKS OF THE MONTH * * * LITTLE MISS SUNSHINE- Looking for a

& VHS releases

THE DESCENT- This deft horror flick follows a woman and five friends who

go on a cave expedition in the Appalachian Mountains. Trapped underground when rocks fall and block their exit, the spelunkers have to battle a breed of cannibalistic creatures lurking in the dark. The first half-hour is set for character development and for the audience to try guessing which one will die first. Once the sextet gets inside the deadly cave, it's non-stop tension, peril, gore and action, not to mention that, with solid craftsmanship, you don't need a studio budget to deliver a scary, disconcerting frightfest. (B) -Sean K

THE DEVIL WEARS PRADA- Andy Sachs’ (Anne Hathaway) fashion sense is

more J. Crew than D&G, but here she is interviewing for a job as Miranda Priestly's assistant. As editor-in-chief of Runway, Miranda (Meryl Streep) is the devil the title refers to. (Anna Wintour, Vogue's editor-in-chief, was apparently the inspiration.) And poor, fresh-eyed Andy has no idea what she's in for when she manages to get the job, including dog walking, Starbucks-running and tracking down an advance copy of the next Harry Potter novel. The film is certainly entertaining, with a life message– be true to yourself!– thrown in for good measure. Streep steals every scene, letting a little of Miranda's humanity shine through, while Hathaway manages to hold her own, playing the duckling-to-princess journey well. (B) –Michele Fontanelli Arnett

IDLEWILD- Idlewild, Georgia, is a strange place; a mix of Outkast's "Ms

Jackson" video and Willy Wonka & the Chocolate Factory. But the story of two childhood friends– Rooster (Antwan "Big Boi" Patton) and mortician-intraining Percival (Andre "Andre 3000" Benjamin)– whose very different lives only overlap at a hopping juke joint, is pretty standard. It's the side characters who make the stay at Idlewild so oddly enjoyable. Besides the colorful cast and director Bryan Barber’s playful lens, the film works because of its score, featuring hip-hop that pays homage to Cab Calloway and Duke Ellington. For years, Andre and Big Boi have had a vision of doing a grandiose Prohibition Era flick that was fun, unique and displayed the rappers' acting chops. This fascinating trip to Outkast's version of the 1930s South is all of that and more. Visitors are welcome. (B+) -DeMarco Williams

INVINCIBLE- The mid-1970s was not the best time to be a football fan in Philly. But even with the 31-0 scores, Vince Papale (Mark Wahlberg) announces his allegiance. The owner gets hotshot Univ. of Southern California coach Dick Vermeil (Greg Kinnear), who brings fresh ideas to the troubled franchise, one of which is a team tryout open to any Joe Schmo. Papale, an out-of-work substitute teacher and just-dumped husband, plays weekend ball, has nice hands and speed. He's also 30, with zero college experience. Still, he gives it his all, and his life becomes one of the most fascinating stories in NFL

fun film that will make your family seem just a little less dysfunctional around the holidays? Check out this indie take on National Lampoon’s Vacation, which centers around the Hoovers’ cross-country quest to get adorable weird daughter Olive (Abigail Breslin) to the Little Miss Sunshine beauty pageant in California. How dysfunctional are they? Well, there’s a heroin-snorting grandfather (Alan Arkin), a controlling dad (Greg Kinnear) whose only plan for success is a half-assed motivational speaking scheme, a goth-punk son who refuses to speak, a depressed gay uncle (Steve Carrell) on suicide watch, and a mother (Toni Collette) desperately trying to keep it all from falling apart. Though it certainly doesn’t sound like one of the year’s funniest comedies, Little Miss Sunshine manages to find humor in those day-to-day struggles (such dad telling his kid she’ll get fat if she eats ice cream) we have to laugh about to keep from crying. Heartwarming without being treacly, funny without being fake, this is easily one of the year’s best films, truly deserving of serious consideration come Oscar time. --B. Love

WORLD TRADE CENTER- You could almost

hear the collective intake of breath when it was announced that Oliver Stone would tackle a story based on the tragic events of September 11. Forget for a moment the philosophical debates over whether five years might not be a bit too soon for our local multiplexes to be inundated with films about one of the worst tragedies in American history. The real question was whether a provocateur notorious for paranoid conspiracy theories and prickly politics could possibly handle such a delicate subject in a respectful manner that wouldn't rub salt in the gaping wounds of grief that remain raw for thousands of families affected by the 2001 attack on the World Trade Center. But Stone rises to the challenge, delivering a powerfully moving document of the 9/11 tragedy that never feels exploitative. Nicolas Cage kicks his usual hammy crap to the curb to nobly portray veteran Port Authority police officer John McLoughlin, leading a team on a rescue mission into the WTC towers when the entire thing began to crumble around them. He and Will Jimeno (Michael Pena) were numbers 18 and 19 of the 20 people pulled alive from the rubble, and World Trade Center tells their story with subtlety and grace. The film largely avoids rah-rah patriotism or political finger-pointing. Instead, Stone examines the grand-scale ramifications of the tragedy by focusing on the personal stories of the individuals who were most profoundly impacted by it. This is good old-fashioned storytelling from a master of the craft, and it will hit you square in the heart with a velocity that will leave you breathless. –B. Love

BOOK REVIEWS SO THIS IS READIN'? LIFE ON THE ROAD WITH THE UNSEEN by Tripp Underwood

The title for the most prolific punk-rock writer easily goes to former Black Flag frontman Henry Rollins. However, The Tripp Unseen's Underwood shows potential for being the next tattooed chronicler of the rock world with his first book. In his memoir, So This is Readin'?: Life on the Road with the Unseen, Underwood– bassist and vocalist for the 15year-old, Boston-based hardcore outfit– chronicles in often humorous detail the group's suburban teenage beginnings (where just about nobody knew how to play his instrument) through their evolution into one of the most consistently satisfying hardcore bands recording today. Though the writing is occasionally stilted, Underwood's knack for re-telling the band's history more than makes up for it. His tales of life on the road, particularly a disastrous trek through Japan and the more successful European trip opening for fellow Beantown punks The Dropkick Murphys is told with sharp detail and fantastic wit. Written in the same blistering fast pace that has come to define the group's music, Underwood's punk-rock history gives an amusingly intimate inside the van look at life in a touring indie rock band. (B+) -John B. Moore

ABSOLUTE DARK KNIGHT by Frank Miller

If you count yourself among the millions of people who loved the way director Christopher Nolan reinvented Bob Kane’s classic comic book character with Batman Begins, you can thank Frank Miller. The comic legend’s mid-1980s graphic novel, The Dark Knight Returns, not only served as the inspiration for Nolan’s distinctive vision, but is also widely credited with changing the entire comic/graphic novel industry. Revered for its dystopian vision of Batman’s future, idiosyncratic tone and stunning artwork, Miller’s classic found a cranky Bruce Wayne emerging from retirement to clean up an increasingly depraved Gotham City. As far from the campy tone of the ‘60s TV series as it could possibly be, Miller’s Batman was gritty, violent and deep like no superhero story before. This gorgeous 512-page tome compiles The Dark Knight Returns and its more cartoonish 2001 sequel, The Dark Knight Strikes Again, along with Miller's early sketches for them, pages from his original proposal for the series, other artwork and a new introduction by the master himself. For newcomers who only know of Miller through Sin City, it’s an amazing introduction to one of the most distinctive talents in the genre, not to mention a reminder that graphic novels and comics aren’t just for kids anymore. (A) –B. Love

Redford

DeVito

history. Most know how the true story ends: Papale makes the team, gets the girl (Elizabeth Banks) and inspires a city. The twist? You smile internally the whole time the thing's playing out. (B) -DeMarco Williams

JET LI'S FEARLESS- Wushu (“martial arts” in the West) loosely translates to

“stop war,” meaning when conflict rises, you're actually supposed to suppress physical entanglement and strive for inner strength thru peaceful resolution. Try telling that to young Huo Yuanjia as he's being crushed by the village bully after his father loses in the main event. Embarrassed, he vows never to be defeated again, becoming a warrior with an uncanny resemblance to Jet Li who breaks opponents' bones quicker than he breaks a sweat. (Yuanjia is the real hero in China who started the Jingwu Sports Federation.) The fighting scenes captured as he climbs the regional ranks are balletic battles that never appear over-the-top or underdeveloped. No Crouching Tiger cords. No Matrix CGI. Just Jet Li and a director, Ronny Yu (Freddy vs. Jason), who doesn't know the meaning of “Cut!” It's just too bad Jet Li wants this to be his final martial arts film, because he proves without a doubt that he is genre’s current reigning champion. (B+) -DeMarco Williams

LADY IN THE WATER- M. Night Shyamalan's insistence of maintaining the

purity of his vision at all costs drags down a modern fairy tale with plenty of potential. Paul Giamatti plays a stuttering apartment complex manager who discovers a strange woman (Bryce Dallas Howard) living in the swimming pool. Turns out the nymphlike creature is trying to get back to the world from whence she came, with shadowy creatures trying to take her out. The story plays out like a cross between Little Red Riding Hood, E.T. and The Terminator, with strong supporting turns from Jeffrey Wright and Cindy Cheung adding character to a film that seems to search fruitlessly for its own greater meaning. What could've been a unique, family-friendly fantasy film instead comes off as defensive, unfocused and self-serving. (C) -B. Love

PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST- Despite huge logical

holes, this sequel delivers everything we might expect and then some: tons o f swashbuckling action, gruesome makeup, a prolonged quest, a deliciously creepy villain and ,of course, plenty of swagger from Johnny Depp. The film assumes viewers have seen the first installment (not to mention shamelessly setting up the next), preferring to get right down to the chase, which involves danger, romance, betrayal and lots of pratfalls. Many of the gags will play well with the 'tween crowd, but may leave adults nonplussed; thankfully, there's also a refreshing level of (relatively) subtle sexual innuendo that will more than likely have the opposite effect. (B) -Rodney Hill

TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY- Whether it's running

around in his tighty-whiteys while hallucinating that he's on fire or giving some sweet man-tongue to French archrival Jean Girard (Sacha Baron Cohen), this film finds Will Ferrell at his inane/insane best. Like many of his best characters, Ricky Bobby is a bit of an ass- a dim-witted redneck who lucks into a slot as a NASCAR driver. He soon rises to the top and becomes the epitome of loathsome oafs, taking advantage of best friend Cal (John C. Reilly), making out with his hot trophy wife (Leslie Bibb) in front of his foulmouthed kids, and generally being an obnoxious stereotype. The rise-and-fall storyline is a cliché, but the cast squeezes the most out of every scene. It's not smart comedy by any means, but if you liked Ferrell in Old School and Anchorman, chances are you'll love him here. (B) -B. Love

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ROAD WARRIORS

This Month’s Hottest Shows

LADY SOVEREIGN (The Loft at Center Stage-

12/1) The search for a Feminem has been a long one, and when Lady Sov started making waves in the United Kingdom's grime movement, there were record company executives waiting in line to sign her over here. The surprise is twofold: that Jay Z got to her first, and that her debut album is a little thin on material. In the end, there's something strange about a Brit being proffered as the first white female rapper in the U.S. market. –John Davidson

more nuanced criticism of American politics. If you can get past all that, their latest album, Taking the Long Way, is a delight. –JD

A PETER WHITE CHRISTMAS (Ferst Center-

12/2) Has the frenzied pace of the holidays got your nerves frayed and your Christmas spirit hanging by a thread? Immerse yourself in the smooth jazz sounds of this annual holiday concert featuring guitarist Peter White, saxophonist Mindi Abair and trumpet player Rick Braun, three of the genre's most popular artists. Musical selections will range from the artists' respective hits to the usual array of holiday classics, with the trio's renowned chemistry sure to create sparks both onstage and in the hearts of the lovers in the audience. Consider it aural mistletoe to get you and yours in the holiday spirit. --B. Love

afraid to use it. Where last year's biggest names were hoary '80s favorites the Violent Femmes and the middling O.A.R., this year's version is headlined by modern rock heavy hitters The Killers, who abandoned the retro New Wave sounds of their debut album in favor of a Bruce Springsteen-influenced, arena-ready sound on the new Sam's Town. With openers that include AC/DC worshippers Jet, goth-punks AFI and hot up 'n' comers OK Go, it looks like Christmas is coming early for moshpit-loving whippersnappers this year. –BL

12/30-31) We've always pimped the DriveBy Truckers because, quite frankly, they're one of the best live acts to grace small stages. Lead Trucker Patterson Hood is wry to the core, and the band's songwriting seems to get better with each album. And we're excited to see that someone has finally taken on Widespread Panic's status as the only big gig in town on New Year's Eve. –JD

This New Orleans-based singer-songwriter seemed poised for success when songs from his debut served as the soundtrack for the John Travolta/Scarlett Johanssen film A Love Song for Bobby Long. The film tanked, but Capps is back on the road supporting his sophomore CD. Like a whiskey-soaked back alley poet sired by Tom Waits and Robert Johnson, Capps' stripped-down sound is rooted in the dark side of the Delta, as boozy and bluesy as Bayou songs should be. –BL

WIDESPREAD PANIC (Philips Arena- 12/30-

99X MISTLE TOE JAM (Philips Arena- 12/6)

DIXIE CHICKS (Philips Arena-12/2) It's too

bad that the Dixie Chicks seem so intent on derailing their career and ridiculing their former fans; it only makes this trio seem bitter that anyone disagrees with lead singer Natalie Maines' politics. That's rich irony given her proclaimed status as a defender of First Amendment rights, but the worst part is that their sanctimonious approach probably turned off a generation of fans who might otherwise have been patient to listen to a

(Center Stage- 12/16) Atlanta-based Aparo’s Matt Serletic-produced debut album broke through in 2000, and his song “Cry” was later covered by Faith Hill (who ultimately won a Best Female Vocal Performance Grammy). But after industry shuffling left him without a label, Aparo went back to thew indie underground, using the Internet to build his fanbase. His latest EP was entirely self-released despite production by Dan Huff (Dixie Chicks, Faith Hill, Rascall Flatts), but the lack of label interference produced some of the strongest songs of his career. Don’t miss him rocking out for the hometown crowd. –BL

DRIVE-BY TRUCKERS (Variety Playhouse-

GRAYSON CAPPS (Red Light Cafe- 12/3)

99X's market dominance has waned a bit since the mid-'90s heyday of alternative rock. But this year's 12th annual Mistle Toe Jam proves the station still has clout, and isn't

ANGIE APARO-

RAY LAMONTAGNE (Tabernacle- 12/9) This

New England-based folkie was as angst-riddled as ever on his second album, ‘Til the Sun Turns Black, veering from merely melancholy to downright haunted. Few modern songwriters chart the ups and downs of love with more emotional conviction, and his distinctively soulful voice and expressive lyrics have made him an Adult Contemporary star despite minimal mainstream exposure. Whether it's retro funk, classic rock or bitter breakup ballads, LaMontagne proves endlessly captivating, moving effortlessly from romantic whispers to wounded wails. Catch him in concert soon, before he makes the leap from large theaters to small arenas. –BL

31) The annual year-end 'Spread fest is an anomaly in itself– how many other bands can fill arena shows without getting any airplay?– but if you've never experienced Widespread Panic it remains a good stepping point. Like the Grateful Dead or Phish, 'Spreadheads tend to be groovy dopers who welcome the opportunity to play hippie for a day or three, and somewhere in the midst of the purple haze there’s some pretty good music to be had. It's not al fresco, but it's the next best thing. –JD

WE GOT NEXT ARTISTS ON THE VERGE OF MAKING IT BIG

hicken, frontman for punk band Dead to Me, knows pretty damn well what goes into selling a band. Years before taking to the road with the backing of Fat Wreck Chords, he was a time clock-punching employee of the infamous indie label, which founded by NOFX frontman Fat Mike. “When I was kid I lived in a super small town in the San Diego area and I used to have to mail order all my records,” recalls Chicken of the beginning of his relationship with the San Francisco-based label. “Fat was always the quickest label, and gave me a bunch of free shit since I ordered so frequently. So needless to say, when I ended up getting a full-time job there years later, I was super-stoked.” He was even more stoked when the label decided to put out his band's first record. “It's a huge honor. It gets interesting at work, because we're like a dysfunctional family, and the lines between friend/family/co-worker/band member get blurry sometimes. But overall the experience as a whole has been extremely positive and fulfilling. We thought about other labels,” he admits, “but when Fat said they wanted to release our record, it was a no-brainer.” Dead To Me formed in 2003, just as Chicken was leaving his gig as bassist for Western Addiction, and One Man Army guitarist Brandon Pollack and guitarist/vocalist Jack Dalrymple were looking for a new band. Adding drummer Ian Anderson (Chicken's cousin), they soon started bashing out brilliant ‘70sera punk. The bulk of the songs off their debut were written shortly after Chicken left rehab. “I was dealing with so much shit at that time, and it makes sense that a lot of those issues showed up in the lyrics,” he says. “All the shit I had been running from with years of drug and alcohol abuse kind of just slapped me in the face after getting clean, so writing songs about it and playing in the band has been very cathartic to say the least.” The vibe on Cuban Ballerina is fairly political, which is not that surprising considering what we as a country are going through right now. Though he doesn't call Dead to Me a political band, Chicken says its members are certainly politically aware. “I don't ever sit down and try to write a song about any PG 22 • insiteatlanta.com • December 2006

D EAD TO M E

CURRENT PROJECT: Cuban Ballerina (Fat Wreck Chords) FOR FANS OF: Rise Against, NOFX, None More Black and Good Riddance WHY SHOULD YOU CARE: A former employee of NOFX's Fat Mike, frontman Chicken now records for his boss' label. RANDOM QUOTE: “All the shit I had been running from with years of drug and alcohol abuse kind of just slapped me in the face after getting clean, so writing songs about it and playing in the band has been very cathartic to say the least.”

particular subject. If something is on my mind, it can sometimes end up in one of my songs. In the case of ‘Don't Lie,’ I was watching CNN and I saw these kids with missing legs and shit. I started thinking that before this insanely unjust war started, I bet this kid had never even heard the term phantom limbs, let alone ever thought he'd find himself with a matching pair. I think it's hard not to be somewhat politically aware these days with so much fucked-up shit going on in the world.” Of being pegged as a political band, Chicken says he can see why the term shows up in some of their reviews. “Maybe unintentionally (we are a political band), but we certainly don't write songs specifically to cater to certain genres of punk or what have you,. Unfortunately, these days bands have figured out that if they write cheesy introductory-level political songs, a certain amount of kids will automatically like them.” So have Bush and the policies he and his party have forced on us over the past six years actually been a blessing for punk -ock? “Hmm, hard to say,” Chicken ponders. “I think that the administration and its policies directly affected the lyrical content of one of the best records I’ve ever heard in my life, Propagandhi's Potemkin City Limits. However, a record is just a record, and I wish those songs never had to be sung. Because, while that record may be amazing, the negative repercussions of Bush's presidency far outweigh the positive in this instance.” As response to Cuban Ballerina is starting to slowly build, Chicken says he still has plans for his old band, the more hardcore-influenced Western Addiction. “We’re writing a new record as we speak. All of us have been super busy with other bands as of late, but we will be back with a new record in no time.” For now, Chicken and the other guys in Dead to Me are canvassing the west coast with The Briggs before heading down to Florida to play The Fest V and CMJ. Just about every week in between is already booked as well. “Dead to Me is super-excited to start touring and get out there and see all our friends all over the country,” says Chicken enthusiastically. “We also have a video we made for ‘Special Professional’ that will be floating around in the very near future as well, so that’s really exciting for us.” --John B. Moore

YOUNG BUCK M

y album was pushed back three times before that bitch came out,” hisses Young Buck on his 2004 solo debut. “But I still maintained the #1 rap album in the country. We would have had the #1 album in the country if it wasn't for country-ass Tim McGraw and R.Kelly... It was bootlegged for 30 days. I ain't tryin' to go through that again.” Something about the way dude's confident Nashville twang resonates on wax just keeps fans fiendin' for more. Most know that the man born David Brown 25 years ago isn't some overnight sensation, riding shotgun in 50 Cent's Maybach. Buck started with Cash Money Records, but that partnership was short-lived. Touring with Juvenile in the late ‘90s, the hungry sidekick met 50, and the two have made street music ever since. Let Buck tell it, that's only going to continue with the eagerly-awaited Buck The World. “I just want [Interscope] to know that, straight up, I got what you want,” he says. “But at the end of the day, y'all give me what I need and I'll give y'all what y'all want.” You sound like got something special... Heeeell yeah! I've been waiting for a minute, making sure that everything is everything as far as the label knowing that I came with the chronic. I gave ‘em a fuckin' chronic album this time. The album's due to drop on Nov. 28, but if everything ain't up to par on they end and the video ain't being pushed the way I think it should, you'll probably hear from me around January. You ready for the pressure that comes with making statements like that? It's 10 times better than my first record. Everything that I do, I put my all into. This is a record I can definitely say is a classic from top to bottom. I got the presence of Dr. Dre [on production]. He blessed me. Eminem blessed me. You got everybody on this record, as far as production. Timbaland came through. Lil' Jon came through. DJ Paul from Triple-Six Mafia came through. Hi-tek. All the big name producers really did they thing for the brutha this time. Why do you feel that a lot of cats who find success step away from the streets? Do you resent those cats? I don't look down on them. I know there comes a

THE G-UNIT MC HATES COUNTRY MUSIC, LOVES BOB MARLEY & SWEARS HIS NEW ALBUM IS A CLASSIC

fans ask, “What if the next one don't come with time in life when you become so successful that it?” We stay on our game by not really paying you almost have to fall back from thepeople you used to be around that may not be on the same attention to the negativity and [instead] feeding page that you're on, especially if you come from into the positive. When I make my music, I don't an illegal activity life such as I do. But I feel like think about selling no fuckin' records. I stick to there should never be that much success that you doing what I do. I make my music trying to make forget where you come from. You take the streets a classic record. I want music to last, and I put my away, there ain't no more Young Buck! My beats all into that shit. I know that if you make the best come from the streets. I make my music behind fuckin' song, and it becomes a major hit and reality. The only blows from the beginning, it can way a person grow into what gonna be a true “I know there comes you expected. I fan of your music a time in life when you is if they can pull focus on that end, stuff from one of patnah. become so successful that these verses and What nonyou almost have to fall back say, “I'm going m u s i c a l through it,” or “I things put a from thepeople you used to know somebody smile on your be around that may not be that's going face? Waking up and through it.” That's on the same page that you're lookin' at my lil' how we know on, especially if you come girl every day. Eminem got a Actually, just havdaughter named from an illegal activity life ing the opportuniHallie and 50 been such as I do. But I feel like ty to have my own shot nine times– there should never be that label, Cashville they make their Records, and give music based on much success that you another artist a reality. I think forget where you come from.” shot that has the reality rap lasts talent and the longer than dance report card to songs. You can't match that talent. find nobody doing All I ever wanted was an opportunity given to the MC Hammer [dance] right now, but you can me, as far as other people who had momentum. find a person poppin' in 2Pac's “Brenda's Got a You know, like meeting cats such as Brian Baby” record and it's still relevant today. I'm try“Baby” Williams at Cash Money. For me to be in ing to make my music as real life as possible. a position to be able to give an opportunity, I feel You mentioned Dre and Em and 50, good. I was also given that opportunity when I all of whom make G-Unit an incredimet my man 50 Cent. I just don't wanna see one ble team. But for all the success that muthafucka doin' they damn thing; I wanna see the label has had, there are the Mobb everybody doin' they damn thing! Deeps and M.O.P.s that don't. Does GUnit stretch itself too thin at times? With Buck the World, what are you I honestly feel that everything that's been put out most proud about? as far as me, [Lloyd] Banks and all of 50's mateI'm really proud of the growth in me. I believe in rial has been such a success. Then you get a re-inventing myself with the music and never record that goes gold, such as the Tony Yayo changing as a person. With the music, I can just record. And then you got a record that doesn't see me growing on the lyrical side, venturing out even go gold, such as the Mobb Deep, then you and opening myself up to trying other things with get the uproar. But that's only two albums out of the music. Doing that has allowed me to see that three years of platinum success! That's when the there are other lanes with it. With my first album

I only had one record dedicated to the ladies, “Shorty Wanna Ride Wit' Me,” and that was the biggest fuckin' [song] on my album. With this album, I realized I gotta keep 'em wet a lil' bit longer. I'm steppin' my game up from a lyrical standpoint. What kind of music outside of hip-hop do you listen to? I listen to Isley Brothers, Isaac Hayes and Bob Marley. I listen to everything but country music. I can't stand the shit! I live right next door to Johnny Cash's old house! I hate that shit ‘cuz I can't understand it and for the simple fact of the black-ballin' that they've done to the hip-hop scene in my community. For so many years, what I had to fight was trying to be heard on an independent label. We had a station like 106FM and you could hear your record played one day, then the next you're listening to Conway Twitty 'cuz one of the country music stations done bought out the station! I'm not a country music fan. I'm from the state of Tennessee, where half of the country music fans and half of the stars are here! But not one of these rich fuckin' country music stars have ever donated one dollar to the ghetto communities [in Nashville]. They never paid attention to any of the things going on here. I only got two or three years of success with this shit and I done donated more money to the public schools than any of these muthafuckas! I just feel like the praise that they give to country music stars should be going to a whole 'nother direction. They praise the ones that don't praise them back. I don't respect that. I find myself doing more than half these country music stars and they sell waaaay more million records than me, when these muthafuckas live right here with me! I appreciate you donating and helping out. We need more of that. A nigga give from the heart. I don't give for fame or gain, no type of rah-rah. I'm a giving nigga. I know you gotta give to receive. I was brought up that way. At the end of the day, if I'm ever in a position to be able to give, I always do it. I'm in a position now where I'm comfortable enough [to do so]. To be real, I find myself giving more than I can actually handle, and that's what I think keeps me getting. Straight up, I done felt like I've given my last away, and I get a lil' more than I gave away the next day... –DeMarco Williams PG 23 • insiteatlanta.com • December 2006

Music

ALBUM REVIEWS

under the miles of hype. And maybe there is, but Robbers & Cowards doesn't make that case. (C)

BARENAKED LADIES- ARE ME (Desperation) Just like them.

by B. Love, DeMarco Williams, John Davidson, John Moore, Tom DeFreytas & Andrea Hatter

The Dean’s List

CEE-LO- CLOSET FREAK: THE BEST OF CEE-LO GREEN & THE SOUL MACHINE (Arista/Legacy) Letting your freak flag fly.

BL It's a music biz given that, should an underappreciated artist at any point in his/her career become a breakout success story, the label that supported said artist through the lean years is going to cash in on their investment. Such is the case with The Best of Cee-Lo Green & the Soul Machine, a compilation of Cee-Lo's best material from the decade before he hit the big time as one half of Gnarls Barkley, but the result is a newfound respect for one of hiphop's most distinctively eclectic talents. Back in the early Goodie Mob days (represented by this album's opening track, “Free,” and bonus cuts “Soul Food” and “Cell Therapy”), Cee-Lo led the Dirty South hip-hop charge with a style that blended a cutting street edge and a street-corner preacher's impassioned spirituality. But his group's soulful sounds barely hinted at the freak flag-flying sense of liberation unveiled on his kaleidoscopic 2002 solo debut, Cee-Lo Green & His Perfect Imperfections. From his first single, “Closet Freak,” the rotund rapper with the heavily tattooed torso made it clear he was like nobody hip-hop had heard before, dropping staccato lyrical bombs over furiously funky percussion, stabbing horns and soulful gospel wails. Included as the second track here, “Closet Freak” launches listeners on an adventurous journey of striking lyrical depth and stylistic breadth. From the New Orleans-style swing of the Timbaland-produced “I'll Be Around” and the mature soul of “Gettin' Grown” to the poetic spoken word of “I Am Selling Soul” and the jazzy scatting of the insane “Childz Play” (feat. Ludacris), Cee-Lo proves himself a remarkably talented lyricist, singer, producer and soul circus ringmaster, suggesting Gnarls Barkley was merely the next logical step in his artistic evolution.

MY MORNING JACKET- OKONOKOS (RCA) Love you live.

JD Four albums into a rising career, and My Morning Jacket needs a live album? Credit the growing urge to flood the market with product, or at least keep the lifeline vibrant so that, in the two years it takes to tour and record something else, fans won't find a new favorite band. Not only that, but MMJ has a fairly open “taping” policy at its concerts: amateur recordings of their live shows abound on the Internet and in trading circles. It's a bit like Phish selling recordings of their concerts-anyone who put forth modest effort could get them for free online. Fortunately, Okonokos is a sensational document for those who still buy compact discs, and it would be hard to imagine an amateur getting sound this good. For despite the deluge of enthusiastic critical response to last year's Z, MMJ's best selling point has always been their live shows and not what they do in the studio. The tasteful interplay of instruments, the joyous use of atmosphere and space, and a generous nod to melody make this compilation of performances from the legendary Filmore in San Francisco a genuine treat to the ears. Like many bands who operate from the jam band sector, MMJ borrows heavily from those that came before them (Southern rock, Neil Young, Phish, etc.) with sweeping guitar phrases and wandering instrumental passages. But it's the caterwauling, dreamy vocals that bring focus to what PG 24 • insiteatlanta.com • December 2006

could easily otherwise be lost to momentum (“Run Thru”); few bands of this genre have such ability make words matter. Overall, an excellent introduction to the band, and a nice companion to 2004's acoustic EP.

MY CHEMICAL ROMANCE- THE BLACK PARADE (Reprise) Goth-rockers discover Queen.

JM There were many rooting for Jersey goth-rockers My Chemical Romance to fall flat with their third effort. 2004’s Three Cheers for Sweet Revenge came out of nowhere and went on to sell millions, which will always bring out detractors, and talk of the band looking to go even bigger with The Black Parade did little to quell the bitching. True to their word, the band went big this time, recording a concept album. Often bloated, pretentious affairs, concept records tend to conjure up thoughts of Yes and Rush. But The Black Parade is anything but bloated. With soaring melodies, fantastic lyrics and more rock than punk, the 13-track album is easily one of the most exciting releases this year. Themes of isolation and being misunderstood, a staple of the band, are still front and center. But their sound is much more robust this time around, thanks in part to producer Rob Cavallo (the man behind American Idiot, that other great punk-pop concept album). Drawing inspiration from the obvious (Queen, Bowie) and not-so-obvious (ELO), the epic effort is a love note to glam-rock records of the 70's. From the acoustic strums that start the record on “The End” to the blazing guitar riffs that bookend the album on “Famous Last Word,” My Chemical Romance have completely reinvented themselves and unleashed a career-defining record in the process.

VARIOUS ARTISTS- NINA SIMONE: REMIXED & RE-IMAGINED (Legacy) Great backdrop for conversation.

AH She’s recognized worldwide and respected by artists in just about every genre. She's been referenced in rock and rap, sampled by Mary J. Blige and Kanye West, and her music's been in movies. You may know her best for the song “Sinnerman,” which was used on the soundtracks to The Thomas Crown Affair remake, Cellular and even an episode of Scrubs. Who is this renowned woman, you ask? Eunice Kathleen Waymon, but most know her as Nina Simone, the high priestess of soul. Though she died in 2003, several prominent DJs have now collaborated to ensure her name (and music) is kept alive for new generations. Jazeem's tribal/‘70s mix of “Funkier Than A Mosquito's Tweeter 3” and Groovefinder's Beckish version of “Ain't Got No/I Got Life” are easy to shake your booty to. Other tracks offer different properties, such as the ambient twist on “Here Comes The Sun” by Francois K., or the DJ Wally cut, “My Man's Gone Now,” which sounds like something you'd hear at Apache Café. There's a well-rounded listening experience to the collection that can either take you full circle or, at the very least, introduce you to some really cool tracks here and there. Those who know who Nina was will respect that newer audiences can enjoy her music. With any luck, new listeners will be pressed to research her and the causes she held dear.

JAY-Z- KINGDOM COME (Def Jam) & CLIPSEHELL HATH NO FURY (Jive) They're Baaaack.

DW Not that Shawn Carter really ever went anywhere, but this un-retiring stuff has kinda turned into a big deal. Imagine No. 23 returning to the Bulls because he felt there weren't enough LeBrons and Kobes to keep the NBA going. That's essentially what Jay, now 36, said inspired his comeback– not enough hot shit being made. Kingdom Come, the prodigal one's ninth time in the booth, begins admirably enough, with three of the first seven songs (“Prelude,” “30 Something” and “Lost Ones”) knocking at different levels of emotive genius. Sadly, after that, the king's triumphant “Welcome back” turns to “Damn, Jigga, that's kinda wack!” While ladies at the club might say different, “Hollywood” and “Anything” are much too pedestrian for a lyrically-profound dude attempting to rescue an industry from a year-long slump. The “Dear Momma”-ish “I Made It” and “Minority Report,” a sharp retrospective on post-Katrina mindsets, save the album’s bottom half from mediocrity, but can't save Kingdom Come from being a disappointment for folks who burned a hole in The Blueprint and The Black Album. But since we're on hot ish, the Clipse's “We Got It For Cheap” intro to their much-delayed second opus, Hell Hath No Fury, might be the illest opening cut in years. It's poetic (well, as poetic as two brothers from VA can be rapping about street trappings) and cutthroat all in the same exhale. And let's not even get on the dim percussion longtime supporters the Neptunes put down on it. Utter sickness! And like kids who've waited forever to go outside and play– for those with questionmarks on their foreheads, brothers Malice and Pusha have been tangled in label purgatory since the amazingly dark Lord Willin's release in 2002– the guys know exactly what they wanna do with their free time: relax (“Hello New World”), recap their felonious past (“Momma I'm Sorry,” “Keys Open Doors” and “Chinese New Year”) and resent fakes (“Mr. Me Too,” “Ain't Cha”). Though the album's not perfect (“Dirty Money” and “Trill” are Jay-Z-like attempts at radio love that fall flat), it more than comes through for folks who burned a hole in their first album. Jay-Z (B-); Clipse (B+)

COLD WAR KIDS- ROBBERS & COWARDS (Downtown) This week's bloggy buzzband.

JD Back in the old days of 2002, publicists stoked the flame of fame slowly over time and in the process, kept bands hip and mysterious until they reached your local stage. The advent of a rabid blogosphere (and, let's face it, Pitchfork.com) has turned the formula upside down, where anyone with a modem is an instant expert on who's hot and who's not. You no longer need the hipster cognoscenti at the record store to tell you what to do because the bandwagons start up online, and anyone can see the cloud of dust. The Cold War Kids continue a proud tradition of endlessly hyperlinked bands that will never be able to meet expectations. Robbers & Cowards is an enjoyable album of indie-rock that struggles to find an identity underneath some unintentional nicking: The White Stripes on “Saint John,” Ryan Adams on “Robbers,” and Fiona Apple's piano vamp on “We Used To Vacation.” Maybe “Hang Me Out To Dry” isn't a Spoon cover, but it sure sounds like one when bookended by the shrill “Hospital Beds.” Fortunately, the back half of the album shows some ambition... or at least deviousness through deviation. The Kids go freaky (the creepy “Pregnant,” the disjointed squealing of “God, Make Up Your Mind”), almost as if to redeem limp beginnings and prove to the homies back in Brooklyn that there's an inch of depth

TD For a band full of dudes, Barenaked Ladies is the most misleading band name of all time. Misnomers aside, the band has made a pretty nice career for itself with its unique brand of pop-rock. Its new album, Are Me, offers up the same range of sounds the band has always staked its name on, from orchestral and choir backgrounds to prog-based beats, from accordions to acoustic and electric guitar. While there’s nothing extraordinary in any of the songs, at least the variation in instrumentation is noticeable. The songs display an element of maturation in content; BNL no longer caters only to teens and frat kids entertained by nonsensical lyrics. Instead, the band seems to have grown right along with the fans it garnered back in 1996 with Stunt. That isn't to say that the band has totally forsaken odd lyrics that stick out more than pimples on an albino. In the very first song, lead singer Ed Robertson laments how, “Ever since we said our good-byes / The onion rings, the phone makes me cry.” This line is especially poignant for anyone who was ever dumped by the greasy girl who worked the deep fryer. Are Me is a solid effort from this group of goofy Canadians, with songs that walk a fine line by maintaining a feeling of fun and easiness while avoiding an immature feeling. This is an ideal CD to have on in the background when you want some music, but don't want to worry about paying serious attention to the content. (B-)

TOM WAITS- ORPHANS (Anti) Uneven multi-CD collections.

JM Tom Waits long ago reached a point in his career where he’s free to record and release almost anything he wants, knowing he'll find an audience. Orphans is a prime example. The threedisc, 54-song set is comprised of tracks that, for one reason or another, never made it onto any of his earlier records. The bulk of the collection has never been heard before, including several songs Waits lent to other musicians over the years. Divided somewhat thematically into three discs (“Brawlers,” “Bawlers” and “Bastards”), the collection is a mix of the brilliant and the mediocre. The first collection, “Brawlers,” tends to fall more into the dirty blues category and includes his weakest tracks on this collection. “Bawlers,” on the other hand, features 20 melancholy songs, including some of Waits best work in decades. His take on “Tell It To Me” is almost as powerful as the first time you hear Leonard Cohen singing “Hallelujah,” and “You Can Never Hold Back Spring” is nearly as impressive. “Bastards,” the experimental disc, includes snatches of songs between stories and an occasional joke. The result is an uneven collection. A must-have simply for the “Bawlers” disc, but casual fans should stick to Rain Dogs. (B)

ANTHONY DAVID- THE RED CLAY CHRONICLES (Brash Music) Branching out.

BL Anthony David is a veteran of the same late-'90s neosoul scene that provided Atlanta artists like India.Arie and Donnie with platforms to national recognition. But despite stints with Arie and rap/metal act El Pus, it's only in the last few years that the singer-songwriter has begun to garner attention in his own right. His solo debut, 3 Chords & the Truth, earned acclaim for its stripped-down blend of acoustic folk and retro soul (think a cross between Ben Harper and Bill

Music Withers). But will his sophomore LP transform him into the next Van Hunt, or leave him just another struggling indie artist touring in a van? Sadly to say, it's likely the latter, despite several conscious bids at mainstream airplay. The opening “Stop Playin'” abandons the bareboned production of his debut in favor of a glossy sheen that relegates his acoustic guitar licks to the background, instead spotlighting multi-tracked vocals and hip-hop grooves. It's got a good beat and you can dance to it, but it's also virtually indistinguishable from a dozen other R&B crooners currently jockeying for elbow room on the charts. Though more subdued, jazzy cuts like “Smoke One” and “Everything Is Everything” seem like thinly-drawn sketches whose half-assed melodic structures fail to capitalize on David's impressive vocal range. And his dancefloor-friendly cover of Level 42's “Something About You” is devoid of any of the resonant power of his acoustic live version. Surprisingly (for a guy whose potent concerts typically consist of just him and an acoustic guitar), the album's best cuts are collaborations with Arie (the expansively rich “Words”) and D.R.E.S. tha Beatnik (the summertime jam “ATL Sunshine”), and the sinfully funky title track and “Sho Nuff.” While it's good to hear a hometown favorite stretching his creative wings, The Red Clay Chronicles is proof that there's occasionally something to be said to keeping it simple and sticking with what you do best. (B-)

+44- WHEN YOUR HEART STOPS BEATING (Interscope) Losing your sense of humor.

JM It could be argued that, for the bulk of their careers, punk-pop platinum sellers Blink 182 were sophomoric, unoriginal and even perfunctory. But they always had a sense of humor, and they kept it intact until the end, when they got serious and recorded their best album. A few years later, after a bitter breakup, Tom DeLonge formed Angels & Airwaves and turned in a remarkable debut, while drummer Travis Barker and guitarist Mark Hoppus formed a new band, lost their sense of humor and filled the studio with synthesizers. Their final product, When Your Heart Stops Beating, is weak dancepop masquerading as punk-pop. What Blink 182 lacked in originality and musicianship, they tried to make up for with witty lyrics. Without that to fall back on, +44 just have... well, nothing. Judging from the lyrics on “No, It Isn't,” Mark and Tom still haven't forgiven their former buddy for slaughtering the Blink 182 cash cow (“Curse my enemies forever/Let's slit our wrists and burn down something beautiful”). Never thought I'd say this, but I miss the poop jokes. (D)

DEFTONES- SATURDAY NIGHT WRIST (Maverick) Trying to make the cut.

JOHNNY CASH- AT SAN QUENTIN (Legacy) & WILLIE NELSON- SONGBIRD (Lost Highway) The weight of legendary status.

JD Now that Johnny Cash is gone and the predictable pillaging of his archives can continue whether he likes it or not, the only question is much longer his shadow can cast. Did he do things that we didn't know about that made him even greater? Were his recordings– often done and then released in much lower fidelity– even better when cleaned by the magic of technology? Or, like one of Cash's great peers in the Country Hall of Fame, Willie Nelson, could modern producers coax greater performances out of him? Well, we know that Cash's work with Rick Rubin resulted in some pretty amazing albums (American Recordings, etc.). And now that we have a full-blown, thorough examination of the seminal San Quentin concert available, we know that the accolades and popularity of the original release weren't a fluke created by a publicity machine. At San Quentin: The Legacy Edition– released this time as a box set– has been expanded to include everyone else on the bill, which was a virtual who's who of that era's stardom (including Carl Perkins, the Carter Family and the Statler Brothers). Throw in the DVD of live performances and documentary clips of cons, and you have one of the more moving packages of Cash's entire catalog. Living proof that being high every day won't kill you, Willie Nelson is the last, greatest living legend in country music. His recorded output has been inconsistent over the past decade, and altcountry dude Ryan Adams steps in on Songbird to try to stoke the fires of glories past. The songs are there, and Adams' own band the Cardinals are tight behind Nelson. The problem here is that Nelson's voice has lost an enormous part of its identity. The nasal whine of his heartbreaking drawl is faint, his once signature expression forever lost to age if these recordings are any indication. Songbird doesn't tarnish the legend as much as it makes you nostalgic for it. When Nelson is gone to his eternal reward and his many recordings are remastered and reconsidered, he'll have his San Quentins to make us forget about his low points, just as Cash's post-career highs have been savory to rediscover. And in that, we don't wish that Nelson was gone any more than we wish Cash was still with us to make music. By the end, the Man In Black was past his prime, with a past to be proud of. Nelson doesn't have to keep on making records to remind us how great he once was. Johnny (A); Willie (C+)

TD Deftones are one of the longestrunning and most acclaimed bands in the nu-metal genre they helped to create. It's debatable as to whether they deserve praise or derision for helping to create a successful fanbase for other bands such as Korn, but it's irrefutable that Deftones were able to persist by creating, rather than conforming to trends like other bands. Their new CD, Saturday Night Wrist, is at times spasmodic and moving too fast for its own good, but at other times mellow and coherent. The album starts off with songs that sound like they’re more concerned with generating headbanging riffs than coherent concepts. On the two opening tracks, “Hole in the Earth” and “Rapture,” Chino Moreno's voice is only decipherable when singing the words which comprise the title of the given track. This initial trend fades over the course of the album as the songs become less heavy and disjointed in favor of a slower, more constructed sound. Many of the songs are steeped in themes of darkness, caution, isolation and impotence, but they never feel burdened with forced emotion. Depending on the lyrical content, Moreno applies a singing style which keeps the songs under control while providing whatever emotion the moment calls for. From eliciting guttural cries at a rapid pace to slower and steadier melodicism, Moreno's voice is the guiding light at the heart of the chaotic cacophony. (C+)

THE GAME- DOCTOR'S ADVOCATE (Geffen) & SNOOP DOGG- THE BLUE CARPET TREATMENT (Geffen) Same coast. Same label. Different feelings about Dr. Dre.

DW If it's possible to come off hard and soft at the same time, Doctor's Advocate is living proof. On the surface, the Game appears to be a really talented MC, while limited in his subject matter and living with some deep-seeded anger management issues. As on his well-received debut, The Documentary, the NWA enthusiast's tales of Compton street life are peppered with gunshots (the reggae-tinged “It's Okay / One Blood”),

BACK IN BLACK BUCKCHERRY HITS THE COMEBACK TRAIL WITH A NEW CD

hen Buckcherry decided to call it quits in the summer of 2002, Creed was still a credible rock band, Fall Out Boy was playing house parties, and 50 Cent was a little-known rap artist. Over the past few years, new bands have come and gone faster than Paris Hilton's boyfriends, which is why Buckcherry guitarist Keith Nelson was a little nervous when the band decided to reform in late 2005. The music industry is arguably more volatile than ever, and Nelson worried that it would be difficult for the band to recapture its old fan base. So Nelson, along with vocalist Josh Todd, rhythm guitarist Stevie D., bassist Jimmy Ashhurst and drummer Xavier Muriel , decided to embrace the most basic methods for exposing their music to fans. They built pages on websites like Purevolume and MySpace, where fans could listen to new songs, and they embarked on a small club tour to promote the release of their new album, 15. Six months later, the album has been certified gold and produced a hit single, Crazy Bitch, which hit #3 on the Billboard Mainstream Rock chart and has nearly four million plays on the band's MySpace page. Not only has the band recaptured the hearts of the loyal fans it left behind four years ago, but they’ve also attracted a new legion of fans that have helped the band amass more success than ever before. How did you feel the day that 15 was released? Keith Nelson: There wasn't really a lot of press leading up to the release. I was excited, but I also knew we had a lot to prove. Nobody had heard any new music from us for four years. All I knew is I wanted to make a better record than our previous two records, and I think we did that. We definitely went through a period when we didn't know what to expect. We didn't know if people forgot about us. What were some of the biggest changes you noticed in the music industry since the last album you had put out? I think that bands today have the capacity to rely less on major labels. It's always nice to have that support, but it's not necessary. There are so many other outlets to get music heard other than marketing from a major label. It's exciting, because it gives artists more control

over what they can do. What outlets did you use to promote your music? We used Purevolume and MySpace as a way to announce that our hiatus was over. “Crazy Bitch” wasn't even supposed to be the first single off the album, but rather a reintroduction to the band. First, satellite radio picked it up, and then WIYY in Baltimore started playing it on the air. It quickly became the number one most requested song, and then other stations started picking it up. Why did the band decide to take a break in 2002? The break wasn't really planned. It was the end of a series of circumstances that lead to various band members quitting. It basically ended up being just Josh and me, and at that point we decided it was time to take a break. What did you do during your time off? I spent a lot of time in the studio learning about the recording process. I had the opportunity to work with My Chemical Romance, and they really stood out in my mind. We're still good friends now. It's interesting to see how guys a few years younger interpret music. They're into a lot of classic rock, and I had no idea that their record collection was so deep. What were the circumstances that led you to reform Buckcherry? I had gone through a lot of personal stuff. My father had passed away and Josh called me up, which was really sweet. I hadn't talked to him in a while, and it was those initial phone conversations that started the process. I didn't want the band to end, so we decided we'd pick up from where we left off. Do you have a favorite song on 15? Right now it's “Everything,” because that's a real left turn for us. “Crazy Bitch” is a typical Buckcherry song, but you can really hear the band expanding our musical horizons on “Everything.” Your song lyrics and the image you convey might lead your fans to think it's a non-stop party when you're on tour. Any truth to that? At this point in our lives the most important thing is to make great music and put on great shows. We're definitely conscious of our partying and not letting it get out of control. I don't want to see anyone turning blue in the bathroom. Then again… it's not like we're hanging out and drinking chai lattes. –Jason Feirman PG 25 • insiteatlanta.com • December 2006

Music Hennessey shots (the cavernous “California Vacation,” with Snoop), wide-ass shots (the Kanye West-produced, video chick-exposing “Wouldn't Get Far”) and shots at haters (the nine-minute, spirit-filled Just Blaze beauty “Why You Hate The Game,” with Nas and Floetry). Nothing on the splendidly-produced CD (Scott Storch and Will.I.Am also show Cali love) is unexpected, save for all the name dropping. And for a dude who claims to be so gangsta, it isn't necessary to express his distaste for another man on each track. OK, we get it! Dr. Dre sided with 50 Cent during the beef and won't produce you anymore. Damn, homie, two tears in a bucket… “I'm Dr. Martin Luther King with two guns on/I'm Huey P. Newton with Air Force Ones on,” Game boasts on the bubbling “Gangbangn 101” off Snoop's new album, The Blue Carpet Treatment. It's a bold statement; in fact, it's probably one D-O-G-G should've warned his “nephew” against ever making. But look at the guest list on the CD. Can you really fault Snoop for letting a line or two slip by? Everybody from R. Kelly (the chart-climbing single “That's That Shit”), to Jamie Foxx (“Psst!”), to Damian Marley (“Get A Light”) stops by the head-bobbing gangsta party. A few, like Western Union and Nine Inch Dick, you wish would've dropped off some gin and juice and kept movin’. Others, like Akon (“Boss' Life”) and the good Doctor himself (the super-soulful “Imagine” with D'Angelo), put it down so hard you want to tell them to run past Ralph's, grab a couple more 12-packs and come back through. Tell ‘em to bring Game along, too, but if he starts with that “Dre ain't shit!” stuff again, show old boy the door! Both (B-)

VILLAGE GREEN- FEELING THE FALL (spinART) & KASABIAN- EMPIRE (RCA) Brit-pop’s low point?

JD Brit-pop is probably at its nadir, at least from the blue skies of the ‘90s, when the only thing keeping it from world domination was a band from Seattle called Nirvana. These days, with garage and two-step kicking open a lot of doors for European hip-hop, and dance music still a huge force, there's not much room for repackaging the Kinks, Beatles and the psychedelic rock forces that once presented such a cultural contender. Just don't tell that to Village Green or Kasabian. It's a little uncomfortable, calling your band Village Green when your goal is to sound like the Kinks. That's the modern equivalent of calling yourself “Let It Be” or “Nevermind.” And while Feeling the Fall is loaded with competent and enjoyable tunes, Village Green doesn't work very hard to shake the shadow of their namesake. Or even Supergrass, whose semblance to this band is extraordinary. Maybe there’s just a finite number of British Invasion songs to write, and everyone is beholden to repeat them. Empire wants to be Oasis very badly, or at least Blur in their best guitar-band moments. Kasabian manages a lot of bluster and booming chords (“Sun Rise Light Flies,” for example) but ultimately proves it's a lot harder to write like Noel Gallagher than previously thought. After all, Definitely Maybe never had studio wankery clunkers like the “By My Side”; Oasis saved that for crappy later albums like Standing On the Shoulder of Giants. Empire is half good, which cannot save it from being labeled as half-bad. Following in the footsteps of your heroes is treacherous, even when unintentional. Village Green and Kasabian struggle with their identities because they’re too comfortable with their influences, and even excellent songs have a short shelf life when they sound like something you've heard before. The Brit-pop timeline is too wellworn to allow a lack of subtlety. These albums suffer as a result. VG (B-); Kasabian (C+)

X-CLAN- RETURN FROM MECCA (Suburban Noize) Ol’ school legends return.

BL For those of us who've been around to witness the majority of the ups and downs of hiphop's 30-year evolution, the most amazing thing PG 26 • insiteatlanta.com • December 2006

about Dave Chappelle's Block Party wasn't so much the performances themselves (though they were undeniably blazin' hot), or even the long-rumored but unexpected Fugees and Blackstar reunions. No, the best part was seeing guiding lights such as Common, Kanye, Erykah Badu, Mos Def, Jill Scott, dead prez and The Roots coming together in a spirit of sociopolitical consciousness. I mention this because the last time there were so many progressive hip-hop artists united by a common cause was probably the late '80s and early '90s, when groups like Public Enemy, De La Soul, A Tribe Called Quest and the Jungle Brothers spread powerful messages of positivity. Arguably the most politically active band of this era was X-Clan, the Brooklyn collective whose potent 1990 debut, To the East, Blackwards, made them one of the most prominent acts on the Afrocentric hip-hop scene, as well-known for their red, black and green garb as they were for their powerful pro-black lyricism. The group released two albums (though Professor X and MC Isis each released solo albums) before breaking up in 1993, and seemed destined to remain a footnote in hip-hop history after original members Sugar Shaft and Professor X passed away. But now the group is back, though their claim to the X-Clan name is questionable, given the fact that Brother J (born Jason Hunter) is the only remaining original member. This time he's surrounded himself with a new generation of relatively unknown Clan members (Ultraman Ra Hanna, ACL, DJ FatJack, Kumu M. Haynes and Master China), as well as an eclectic assortment of guest artists. The results are surprisingly strong, all things considered; a little behind the times, perhaps, but certainly unlike most of the same ol' BS clogging up radio waves these days. Songs like the P-funky “Voodoo” reinvent the group's original style for 2006 ears, while the densely packed lyrical science of “Why U Doin That?” calls out today's black youth for “pissin' on our culture” and holding it back. Not every track here packs such a potent sociopolitical punch, but guest MCs like Jurassic 5's Chali 2Na and Abstract Rude drop rhymes that help establish the ol' school/true school connection. Not a great album, but not bad for a group that's been outta the game for 13 years. (B-)

SPARTA- THREES (Hollywood) Trying to recapture former glory.

TD At the DriveIn's 2001’s breakup was due to their differences in vision for the band’s direction. Cedric Bixler and Omar RodriguezLopez wanted to pursue a hardcore/ psychedelic style, while Jim Ward, Paul Hinojos and Tony Hajjar wanted a more traditional rock sound. The result of this schism was The Mars Volta and Sparta. On their new album, Sparta continues its style of guitar-heavy rock ‘n' roll. Threes is not a bad album by any means, but displays little evolution in the band's sound, which has never been able to reach the same intensity as ATDI. Their songs are solid, but generic, with lyrics that lack maturity. With titles like “Untreatable Disease,” “Taking Back Control” and “Unstitch Your Mouth,” Sparta’s songs tread the same water as your average high school punk band. But they eventually separate themselves from the aggro pack with sophisticated guitar and drum work. The final track of Threes leads you to wonder if these former members of At the Drive-In believe they made the wrong choice in not following the trippy, prog-infleunced stylistic lead of Bixler and Rodriguez-Lopez. “Translations” has a psychedelic sound oddly similar to tracks on Pink Floyd's classic Dark Side of the Moon, with dazzling backup female vocals carrying the song alongto heights of ecstacy. Is this an homage to rock legends, or an attempt to create a sound diverging from traditional rock? Either way, Sparta ultimately seems reluctant to evolve or challenge its self in any way. (C)

CLEARED FOR DEPARTURE T

WITH A LITTLE HELP FROM HOLLYWOOD, THE DROPKICK MURPHYS TAKE OFF

he Dropkick Murphys have been on soundtracks before. The Boston-based punk band lent a song to the hometown movie Fever Pitch, appeared on the soundtrack to Tony Hawk's American Wasteland and even re-recorded an old Red Sox rally song that some have credited with helping the team finally break their 86-year curse. But hearing your song played throughout a Martin Scorsese movie is a whole new breed of cool you can't help but smile at. “We've heard our songs in movies before, so I didn't think I'd be that excited,” says Ken Casey, bassist and vocalist for the band, which is legendary for its incendiary live shows. “But, I got to tell ya, sitting in the audience at the Boston premiere, when you hear your song in that movie... it's pretty cool. All of your buddies are around you.” Getting a song in the movie appeared to have been a longshot. Casey and some others in the band had friends that were working as crew members on the Boston set of the Scorsese-helmed movie The Departed. One of these guys slipped a copy of The Warrior's Code, the Murphys' 2005 album, to reps of the famous director, hoping he'd find the band's gritty, Gallic-infused street punk an appropriate mood-setter for the movie. “We just assumed it wasn't going to happen. I had pretty much forgotten about it,” admits Casey, on a brief stop back home before the band's European tour. “I still didn't even know the extent of what was going to be used until I watched the movie for the first time. We had just come from the airport– we were touring– and drove straight to where the movie was showing and sat down. We heard it for the first time when everyone else heard it.” Casey and the rest of the guys in the band

came straight from the airport to the movie's When he died, Guthrie left behind hunpremiere, where they first heard their song “I'm dreds of lyrics to songs he had never recorded. Shipping Up to Boston” blaring from the THXFrom time to time, Nora has invited like-mindsurround sound speakers. The song, which first ed musicians to use his lyrics to create new appeared on The Warrior's Code, plays promisongs. Most famously, British rocker Billy nently through the opening credits and recurs Bragg (along with Wilco) created two albums throughout the entire introduction of the film as worth of Woody Guthrie-penned songs. the back story of the characters are revealed. It “She contacted us, and not everyone gets that call, so we went down there. They took us also showed up in all of the TV ads for the to this room where all of his papers were kept movie. and we had to put on these special white “I love Scorsese,” Casey raves. “I gloves so we wouldn't ruin the paper, mean, everyone loves Scorsese. You see his movies again and again. and we just spent hours going His movies are timeless, and through all these songs,” recalls “Everyone Casey, who was genuinely now we'll be a part of this loves Scorsese. honored by the invitation. movie forever.” “Many of them had a As a result of You see his movies few lines written on increased exposure again and again. them explaining for “I'm His movies are timeless, where they were Shipping Up To written and a few of Boston,” sales for and now we'll be a part the circumstances surThe Warrior's Code and of this movie the band's entire Hellcat rounding it. We ended up forever.” Records back catalog tripled taking 20 pages of lyrics with when the movie came out in us.” October. In truth, it would be hard to Included in those lyrics was the wry find a film that better complements the “I'm Shipping Up to Boston,” about a one-legged sailor heading back to find his Murphys’ sound than The Departed. Adapted from the Hong Kong thriller Infernal Affairs, missing limb. “What we liked about it was that, amongst a lot of serious songs, there was the movie is set against the backdrop of blue this kind of silly song about some sailor who collar Boston. Like the Murphys, the song likely got really drunk and got into a lot of trouScorsese chose has a bit of history itself. ble in Boston,” Casey says with a laugh. “It “About five years ago we were contacted sounded a lot like us, which is why we liked it.” by Woody Guthrie's daughter Nora,” Casey recalls. “Turns out that her son was a fan of the Casey said the band has talked for a band and told his mom, 'I think Grandpa would while about wanting to record an entire album's worth of Guthrie material, but couldn't wait have liked these guys.’” And he probably that long to record “I'm Shipping Up to would have: The Murphys, like Guthrie, have a long history of sticking up for working-class Boston.” But this isn't the first time the band people and questioning those in power. has recorded a Guthrie song. The lyrics to

2003's “Black Out,” from the album of the same name, was also written by Guthrie. Despite leaking a few songs here and there, the band does still intend to record an album's worth of Guthrie songs soon. In fact, that may be the band's next release. “Who knows?” muses Casey. “We've written about six new songs, but we could just as likely put those aside and work on the Woody Guthrie record.” This fall has been a busy couple of months for the band. Along with their inclusion on The Departed soundtrack, the band was recently honored by the city elders in Boston for all of the charity work they’ve done over the years, most recently helping raise $20,000 in one night for the Leary Firefighters Foundation. As a thank you, the city proclaimed September 12, 2006 Dropkick Murphys Day. Not bad for a bunch of angry punk-rockers. “It wasn't that many years ago that I thought we would be getting tossed out of the city. A lot of our shows tended to get a little rowdy,” admits Casey, laughing. “We were banned from playing in the city for about three or four years, so that was pretty funny.” Although the band hasn't changed much musically over the past decade, it's remarkable to see such a wide cross-section of fans at their shows these days. “The style of music we're playing shouldn't just be for angry punks and drunken hooligans. It should be for fathers and sons and blue collar folks,” Casey insists. So what exactly does a once-banned hooligan punk rocker do with a framed proclamation from the Speaker of the House? “I gave it to my grandmother,” Casey responds matterof-factly. “She was proud of me.” –John B. Moore

PG 27 • insiteatlanta.com • December 2006

Technology

Sony Playstation 3

The facts about the newest uber-gaming system BY RAV MANSFIELD

igh-Definition Gaming comes to the masses; Fans line up, fight, and generally make a fuss to get the new system. Does it live up to the hype? Here are the facts about the PS3: PS3 is available in two configurations. One features a 20-GB hard disk drive (HDD) and carries a suggested retail price of $499, while the second features a 60-GB HDD and built in Wi-Fi adapter and multiple memory card slots for $599. At the heart of PS3 is the Cell Broadband Engine™, one of the most-advanced computer processors in the world, that enables massive floating point calculation, and Blu-ray Disc™ (BD) drive, providing a true High Definition (1080p)* next-generation gaming and movie experience in the home, as well as up to 50 GB of data capacity for video game developers to store content - five times the capacity of DVD. "With today's launch of PS3, we are officially ushering in a new era in true next-generation entertainment for homes all across North America," said Kaz Hirai, President and CEO of SCEA. "The innovative PS3 system features powerful technologies and capabilities that have never been brought

together in one system, including the Cell Broadband Engine, BD drive, HDD and online connectivity as standard features of every system. The results are breathtaking new interactive worlds to explore, eye-popping multimedia functionality, and a fully integrated online experience - all in highdefinition clarity. The value we are providing consumers with PS3 is beyond compare." But the technological advances don't just stop in the system itself, they are also found in the controller.

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The PS3 system's innovative, new SIXAXIS™ wireless controller allows gamers to physically turn, twist, and bank their controllers to command the onscreen action. Every PS3 also comes equipped with an HDMI output for the best connection possible to high-definition displays, supporting Full-HD resolution up to 1080p for both games and movies*. Built-in network capability means that all PS3 owners can enjoy online game play and services, such as Web browsing through the PlayStation® Network and downloadable content through the PlayStation® Store, immediately. Other downloadable content available on November 17th include free movie trailers and game demos. The odds of finding a PS3 before the holidays are slim but at least now you know the facts and knowing is half the battle! Happy gaming from everyone at INsite.

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n his directorial debut, writer/director David Ayer (Training Day) has returned to the ghetto of L.A., but this time from a more personal perspective of his own life as a former submariner in the Navy and growing up in tough neighorhoods. We recently sat down with him to discuss how his path led to his new film, Harsh Times. At the beginning of your career, what pushed you towards screenwriting? Chance, more than anything. I was working construction and I went to do renovation on a house in the Hollywood hills. It was Wesley Strick's house [writer, The Saint], and I showed him some short stories I did about the Navy. He's like, “Hey, you have an ear for dialogue and characters and you know how to set a scene,” and I didn't really understand what any of that meant. But he saw something there and convinced me to write my first script. I stayed in his guest house and banged it out on an IBM Selectra. It wasn't a movie, but it had its moments, and people in the industry cast a wide net. They're always looking for talent; they saw raw ability in there and it was up to me to develop it. I just kep writing, and eventually I wrote Training Day and it stuck to the wall. What can viewers expect to see in this part of Los Angeles that will be new to them? The world I know is populated by the people I grew up with. I think, like in a lot of innercity movies, the white guys have the jobs and the minorities are the criminals. Well, in the real world, the minorities got the jobs and there are also criminals, so it runs the spectrum. There's credible diversity in social position. It's really about the streets and the color of the streets, but at its heart it's about friendship. I think the key point is,at what point does loyalty to a friend become a liability? Christian Bale’s character fought in post9/11 Afghanistan. Do you think the changes or additions vary based on the kind of war? I think you have two kinds of wars: You have

DISCIPLINARY ACTION Navy VET-turned-writer DAVID AYER TURNS DIRECTOR WITH HARSH TIMES direct action combat, where you line up like the red coats and the enemy is over there and you go get 'em. I think the insurgency part is what really gets to these people. It's a lot eas-

ier to hunt down an enemy in uniform than it is worrying about a civilian car blowing up, or a kid throwing a grenade at you, or a woman pulling a gun out and shooting you.

LITTLE FIVE POINTS 428 MORELAND AVE. 404-523-0100 F

F O $3

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I've heard stories about women holding AKs in one hand and babies in the other. What that does is, when you come back to the civilian world, the instruments of war (cars, people, kids) are all over the place. It's about being able to shift gears from that super-high awareness to step it down a notch. You were in the Navy and served on a submarine. What was that like? It was intense. What I really got out of the Navy was discipline. You know, I'm a high school dropout. I went from failing my senior year and dropping out to becoming #1 in submarine school. I really learned how to discipline myself and work hard academically. And that discipline has carried over into my writing career, especially the submarine work ethic, because there's always more work than there are people. I got to see things that your average kid from downtown L.A. never gets to see– good and bad things, and both have left a mark on me. Are you thinking about writing a movie about the submariner’s life? Absolutely. It's tough, because I can't discuss a lot of what I did. That's a non-starter. However, no one has really done a submarine movie right, in my mind. There have been great submarine movies, but no one has really nailed the life since Das Boot and Run Silent, Run Deep. What were the big challenges with this being your directorial debut? In Hollywood, the big joke is that everyone wants to direct. And that's like the studio security guard saying that and the executive saying that. At least as a writer you work with story, and in directing you're telling a story visually. But there's also a technical component. There's an interpersonal component. You have to be able to deal with actors, and not everyone can do that. And leadership: Can you lead a crew? Can you inspire them to do things they don't want to do? And that all comes down to having a distinctive vision... –Matt Goldberg PG 29 • insiteatlanta.com • December 2006

Restaurants

HOLIDAY CATERING GUIDE

Ideas for planning a party at home or at a restaurant Mezza A Lebanese bistro & wine bar 2751 Lavista Rd., Decatur; 404-633-8833; mezzabistro.com

Mezza, a traditional way of dinning in which all menu items are served in small portions allowing diners to sample and share a large variety of dishes. This type of dining lends itself well for large groups and catering large functions. Mezza has recently expanded and offers a new dining experience. Along with the great food, belly dancing and hookahs on the weekends. Mezza has been Zagat rated for five consecutive years, one of Atlanta Magazine's "Top 100 Restaurants in Atlanta" list in the last three years and one of AJC's top 50 restaurants for 2004. A variety of more than 60 menu items ranging from the traditional dishes, such as hummus, baba ghannouge, falafel, tabbouleh, kebabs, legs of lamb are on the menu. Of course to complete the meal a variety of tasty desserts such as baklawa, rice pudding, halawa bi jibin, and date ma'amoul. Home made ice creams with a variety of flavors mixed with caramelized nuts are also very popular. To finish it off they also have real Lebanese coffee better known in the west as Turkish coffee. Mezza also serves traditional non-alcoholic drinks, such as jallab, a drink made from raisins and topped with pine nuts, rose water and a drink made form mulberries, traditionally known as toot. Along with the great food, Mezza serves a wide selection of wines, imported and domestic and the largest variety of award winning Lebanese wines. A list of local, domestic and imported beers are offered on the menu including Almaza, a Lebanese beer. Mezza caters all types of occasions, holiday parties, anniversaries, rehearsal dinners, etc. Party trays and baklawa trays make great gifts. Gift cards also available. Call them for your next occasion and they will make memorable.

Dusty’s Barbecue 1815 Briarcliff Rd. Catering 404-687-8002; www.dustys.com

Barbecue is the perfect food to serve for your holiday party. Dusty's located near Emory University and Virginia Highland, has been an Atlanta favorite for 25 Years. Dusty's has always given lovers of real barbecue and southern style food a lot to get excited about. Their N.C. style pepper-vinegar based barbecue, Brunswick stew and other southern favorites have many patrons "addicted" to Dusty's. With its catering menu, Dusty's offers lots more that just barbecue. All prepared to the same quality "good food" standards to which Dusty's has always adhered. The down-home casual foods such as baked or smoked turkey and ham, cornbread dressing with giblet gravy, collard greens and "real" banana pudding, all "made from scratch" would serve anyone well for the holidays. If you love going to Dusty's but haven't tried their catering, the holiday season is the perfect time.

Baldinos 80 Powers Ferry Rd. 770.321.1177 Doraville 5697 Buford Hwy. 770.455.8570

Recently voted “Best Subs in Atlanta”, Baldinos Giant Jersey Subs has been a 1975. favorite since Boasting the only true New Jersey style submarine in the South, you will know why after biting into one. Let Baldinos take all the stress out of trying to feed your crowd. Baldinos has something for everyone from their famous subs to deli salads by the pound, cookies by the dozen and iced tea by the gallon. Order your Baldinos Party Food today and give yourself a break that won’t break your bank. After all, its always a party when you invite Baldinos.

Agave 242 Boulevard SE 404-588-0006 www.agaverestaurant.com

Agave has been voted by several publications as the Best Southwestern restaurant and been voted as one of the “Top 100” restaurants in Atlanta.

Agave has two beautiful dining rooms as well as a enclosed patio area making it perfect for holiday parties. They can accomodate parties from 6 guests to 120. Agave’s bar boasts 85 tequilas and their Margarita’s have also won various awards. Those looking to add some extra fun to their party can arrange a special tequila dinner. Their chef's menus are located online which take the pressure off of ordering for large groups and include a personalized menu with your special heading at the top of each menu.

Voted Best Greek Cuisine

-Best of Atlanta 2006

Redfish 687 Memorial Dr., Historic Grant Park 404.475.1200 www.redfishcreole.com

Redfish recently was voted Best New Restaurant by Creative Loafing and Best Cajun by both CL and INsite. Nestled in the revitalized cabbagetown district, Redfish adds a touch of New Orleans. From the hint of Mardi Gras beads hanging from the light fixtures to the Zydeco music playing softly, to the great cajun fare, Redfish has earned its place as one of the best new restaurants in Atlanta. Redfish can accomodate large parties and menus may be viewed online and ordered in advance. Special wine dinners as well as tequila dinners can be arranged.

Athens Pizza 1341 Clairmont Rd. Decatur 404.636.1100 www.athenspizzaatlanta.com

For over 25 years, the Papadopoulos family has been serving up great Greek and Italian cuisine to the Emory area. In fact, Athens Pizza was just voted as having the Best Greek Cuisine in Atlanta. Don’t let the name fool you, there is much more than great pizza, as some of the favorite recipes on their Greek dishes go back 25 years and more! This holiday season, consider going to their website and ordering from their catering menu. The restaurant can also can accomodate large parties and a private room is available.

Sweet Devil Moon 980 Piedmont Ave. Midtown 404.347.3600 www.sdmatlanta.com

If you are looking for a place in the heart of everything, the patio at Sweet Devil Moon offers opportunities to see and be seen. Here you will find authentic Peruvian tapas with original artwork in a cozy yet classy atmosphere. They have tapas ranging from seafood, chicken, veggie and meat lovers. Popular veggie tapas include Grilled Portabella, Plantano Frito, and Tofu skewers. There is a designated wine bar offering an excellent selection of wines from around the world. Check out their menu online or give them a call before planning your holiday party.

VOTED BEST CAJUN - 2006 Insite Magazine VOTED BEST NEW RESTAURANT & BEST NEW CAJUN - 2006 Creative Loaﬁng

Mediterranean Grill 2126 N. Decatur Rd.; 404.320.0101; 985 Monroe St. 404.917.1100

Savor the flavor of the Best Mediterranean cuisine in Atlanta (Insite, CL ‘06). The original Decatur location has been a Emory hang-out and neighborhood favorite for years. Now with their new Midtown location, more Atlantan’s will be able to enjoy their excellent Mediterranean dishes. The restaurant can be booked for private parties and they offer catering to groups large and small.

Coyote’s Mexican Grill 2740 East College Ave. 404.373.9383

Coyote’s patio is the place to be on Friday nights as their Mariachi band plays to the crowd. In addition, there is ample seating inside to accomodate parties large and small. Or have their excellent Mexican cuisine catered to your next event. PG 31 • insiteatlanta.com • December 2006

Local Events

NEW YEAR’S EVE 2006! Parties and Events Happening in Atlanta Peach Drop 2006 Underground Atlanta Dec. 31, starting at Noon Price: Free Peachdrop.com 404-577-8686

Come to Underground Atlanta for a full day of family fun and an evening of topnotch entertainment! Beginning with children's activities at noon on Sunday, December 31, 2006 Underground Atlanta will be bursting with activities for the entire family. Then, just before the clock strikes midnight, Atlanta’s New Year’s Eve tradition will come alive when the 800pound peach begins its descent!

Chick-fil-A Bowl

Georgia Dome ACCvs.SEC chick-fil-abowl.com Dec. 30

Formerly known as the Peach Bowl, the Chick-Fil-A Bowl historically has been the most competitive of any of the bowl games. In the past 15 years, the average margin of victory was under 7 points. The Chick-fil-A Bowl pits top-ranked teams from the ACC and SEC. This regional grudge match brings up to 40,000 out of town guests to party in Atlanta. Let’s hope last year’s embarrassing after game brawl between LSU and Miami was just an aberration.

Drive-By Truckers Variety Playhouse

Dec. 30 8:30 PM $25 Adv / $30 Dr Dec. 31 9 PM $40 Adv / $45 Dr www.variety-playhouse.com

PG 28 insiteatlanta.com October 2005

PG 32 • insiteatlanta.com • December 2006

Drive-By Truckers released several albums of gutsy, often ironic roots rock (1998's Gangstabilly, 1999's Pizza Deliverance, and the live effort Alabama Ass-Whuppin') before settling down to compose their unlikely magnum opus, Southern Rock Opera, a two-act, two-CD work based loosely on the history of Lynyrd Skynyrd. After years of constant touring, the Truckers hit the studio to record and release their best effort to date, the critically lauded A Blessing And A Curse.

Downtown Countdown

Hyatt Regency 265 Peachtree St. Ne

Dec 31, 8:30PM Price: $129 and Up downtowncountdown.net

Need proof that all New Year’s Eve parties are NOT created equal? Check out the stats on this massive throwdown, which is expected to attract nearly 3,000 revelers to the Hyatt Regency downtown: Over 50,000 square feet of party space spread across three VIP areas and themed rooms such as the Atlanta Idol Stage and Showcase Comedy Lounge; a 6 ½ hour premium open bar serving everything from Grey Goose vodka and Dewar’s Scotch to champagne, beer and wine; a food buffet that includes appetizers, pasta, rounds of beef, and a late-night breakfast; and the city’s biggest balloon drop at midnight. The entertainment is top-notch as well, featuring performances by Drivin’ N’ Cryin’, Rehab, Modern Skirts, DJ Lethal Rhythms and a surprise act on the main stage, along with local bands UNZIPT and That 80’s Band and Rock & Roll Karaoke with Metalsome. VIP packages are available to sweeten the deal even further, as are discounted rooms at the Hyatt for those who wanna make a whole night of it.

WNDC New Year’s Eve Ball

The Fox Theatre 660 Peachtree St NE Dec 31, 9PM Price:$100 404-881-2000 Hosted by the Wednesday Night Drinking Club, a semi-private group of young professionals that tends to take its partying very seriously, this 5th annual New Year’s Eve soirée wins the Best Location award hands-down, taking over the Fabulous Fox Theatre's Egyptian Ballroom, Grand Salon and Grand Terrace. There will be wall-to-wall open bars (serving premium liquor, beer, wine and champagne), live music by party band Radio Cult, a midnight balloon drop and champagne toast, and an hors d’ouvres buffet. If that's not enough, the Club's press release also promises "sauced up single hotties... full-contact tonsil hockey... and 2-ply toilet paper in each bathroom." Check the WNDC website for updates on hotel deals so you won’t be tempted to drink and drive.

NYE in the ATL

The Crown Plaza 3377 Peachtree Rd. NE Dec 31, 6PM 404-775-4118

There are a gazillion ways to ring in the New Year in Atlanta, but this event separates itself from the pack by catering primarily to the urban professional crowd. Presented by the RAAP Network (Real African American Professionals), a social networking organization for progressive urbanites, the evening gets started at 6PM with an open bar Happy Hour ($25) featuring lively FunkJazz entertainment. But the real party doesn't set off until 8PM, when revelers take over multiple Crown Plaza Hotel ballrooms for a night that includes multiple DJs, live entertainment, midnight champagne toast and 2 complimentary drinks for $30, and VIP access to top shelf open bars for $50. Dinner and hotel packages are also available for an extra charge.

A Fir-Ju Wall

Continued on Page 30

Westin Peachtree Plaza Sun Dial Restaurant 210 Peachtree St., Downtown 404-589-7506 Dec. 31, 6PM Price: $15-$89 Dinner for two

Looking for a quieter, more romantic New Year’s Eve experience, and got a few hundred bucks to spend? Pamper yourself (and your significant other) with this swanky evening at the Sun Dial Restaurant, Bar & View. Situated high atop the 73-floor Westin Peachtree Plaza Hotel in the heart of downtown, this ATL landmark will be featuring a special 6-course prix fixe menu from 611PM for $89 per person, including a Champagne toast at midnight. If that's a bit too steep for your post-holiday pockets, chill in the bar from 7PM1AM, where for $15 you can soak in the sounds of the Mose Davis Trio while savoring an expansive view of the city that should include a glimpse of all the major fireworks displays.

Widespread Panic Philips Arena Dec 30, 7:30PM; Dec 31, 8:30PM Price: $49.50 404-249-6400 If swanky soireés with champagne toasts at midnight aren't quite your idea of a great New Years Eve time, hang with the noodle-dancing hippies and beer-swilling frat boys at this annual year-end 'Spread-fest, where Athens' favorite post-REM sons assume the mantle of jam-rock favorites once held by the Grateful Dead and Phish. There aren't many bands around these days who can sell out arenas with little to no mainstream media support or radio airplay, but Widespread Panic does it on

the strength of their skillful songwriting, marathon live shows and infectious grooves that cut through the purple haze. If you can deal with the smell of patchouli and second-hand smoke, it should be one helluva way to ring in the New Year.

Sound Tribe Sector 9

The Tabernacle

152 Luckie Street Dec. 29,30,31 8PM 404-659-9022 atlantaconcerts.com

Celebrating New Year’s Eve again this year in Atlanta, STS9 performs for three straight nights. Special guests to be announced.

CJ’s Landing

REAL New Year’s Eve Party

270 Buckhead Ave. 404-237-7657 cjslanding.com Price: $10 before Midnight; $5 after Join CJ's, Father Peter and Brian Wiltsey for their annual New Year's Extravaganza. Buckhead’s legendary bar puts on a great New Year’s Eve show. Drink specials, party favors, balloon drop with champagne toast at midnight.

The Tavern at Phipps

3500 Peachtree Rd. Buckhead 404-814-9640 Voted Best Happy Hour in Atlanta in 2006 and buckhead’s “Hottest Spot for Cool Cocktails” (AJC, 2005), the Tavern is THE place to ring the New Year in right. Enjoy the party inside or out with newly installed patio heaters. Located at Phipps Plaza.

Funny Farm Comedy Club

608 Holcomb Bridge Rd. Inside Startime Entertainment 770-817-HAHA (4242) Showtimes: 8:00 PM & 10:30 PM Admission: 8PM $25; 10:30PM $45

Come ring in the New Year with laughter and joy at The Funny Farm Comedy Club ! They are excited to bring back Tom Simmons who has become a regular favorite of The Funny Farm. He will be doing his "Year in Review" show discussing current events in 2006 discussing society, politics, and his own life. The 10:30 pm show will include party favors & a champagne toast to ring in the new year. Outside in the sports bar, they will have a complimentary buffet for all guests..

Andrew’s Upstairs

Mel and the Party Hats 56 East Andrews Dr. Suite #13 404-467-1600 andrewsupstairs.com Atlanta’s most intimate concert setting‘s New Years Eve Gala with be running again this year. This year’s show featuring Mel and the Party Hats, is sure not to disappoint. Go to their website for updated details on the event.

The Earl’s New Year’s Eve!

Salmanaires & Tenement Halls Dec 31, 9:30PM 488 Flat Shoals Ave, East Atlanta Price: $10 Door; $12 Online 404-522-3950

Getting wild and crazy while surrounded by a few thousand perfectly drunken strangers not your idea of fun? Head to The Earl this New Year’s Eve where you can get drunk and crazy among familiar faces. Past New Year’s Eve shows have been unforgetable, and the Salmanaires who perform this year are sure not to dissapoint.

Life University Lights of Life Nov 20-Dec 31, 6PM Price: Free (donations encouraged) Life University, 1269 Barclay Circle, Marietta 404-426-2884 Now in its 17th year, Life University's Lights of Life is the largest free holiday lights display in the state, attracting nearly one million people per year to its 2.5-mile drive-through tour. Local contestant Andy Freeman won an online contest to flip the switch that will light up the university's campus for six weeks, featuring hundreds of themed displays and animated attractions that include a monolithic 65-foot Santa Claus. Admission is free, but donations of $19 per car and $25 per bus are strongly encouraged. And pretty reasonable considering visitors also get a free CD featuring musical selections performed by local high school and professional choral and instrumental groups.

Call Now for Holiday Catering PG 33 • insiteatlanta.com • December 2006

....AND THE OSCAR GOES TO CHRISTOPHER GUEST & CO. TAKE AIM AT THE ACADEMY WITH FOR YOUR CONSIDERATION

he ensemble cast of Christopher Guest’s movies are used to playing off of each other. With only a dozen or so pages of outline per movie at the most, writer/director Guest (Spinal Tap, Best in Show, Waiting for Guffman) pretty much leaves it up to his cast of regulars to make up the dialogue as they go. Given their knack for improv, it makes perfect sense that the studio backing Guest's latest film would throw the actors into groups of two and three to fend for themselves and play off each other, in interviews for the movie. For Your Consideration brings back regulars Fred Willard, Jane Lynch, Eugene Levy, Jennifer Coolidge and Catherine O'Hara, among others. The premise– how Oscar buzz affects the cast of a not-so-Oscarworthy movie– is playing out in real life, as several sources have suggested O'Hara may be up for an award thanks to the movie.

FRED WILLARD/JUDY LYNCH Do you guys talk about how you're going to do a scene before you start? Willard: Before we started doing the movie, Christopher had me down in his office and said, “I have an idea: It would be funny if you just bulldozed over everything (Judy) said. Don't let her get a word in.” I said, “Chris, I think that's a good idea, but would you mind telling Jane I'm going to do that?” He said, “I think it'd be funnier if we didn't.” Lynch: I had a feeling he might have said that. Can you talk about the phone call you get to do one of these movies? Lynch: When you get that call, it's an immediate yes. Willard: Oh, yes! Lynch: It's really wonderfully to get that call and know what you're going to be working on. Chris is great to work with, but he's never very excited on the phone. “So I think we're going to do another one and, uh, you want to be in it?” He's not very decisive about it. He'll say, “Well, your character is going to be a host of one of those entertainment shows, so, uh, bone up on that.” Willard: He told me to go home and watch one show, I don't know which one it was, but PG 34 • insiteatlanta.com • December 2006

he said, “You'll only get through about 10 He'll never say, “You're going off in the minutes of it, but watch what you can.” wrong direction,” but he'll say, “Don't forget (Turning to Judy) Which is the one we to mention this, and go back and mention bought the set from? this.” You never feel like you're way off. I Lynch: Access Hollywood. We actually don't think that happens very often. bought the old set from Access Hollywood. They were getting a new one, so we bought CHRISTOPHER GUEST/EUGENE LEVY the old one. It was overwhelming, with so much going on at the same time on different Now that it's finished, do you like the film? TV screens and flashing lights. Guest: I've worked on this for two What are your personal experiyears... that's a long haul. You ences with award shows? look at a movie when you Lynch: I'm like every finish it and at some point other regular American; you just have to say, I go, “I wonder what's that's it. I think for the going to happen?” I “I'm always thinking most part I like the don't feel it in terms about [giving an Oscar film, but I always of my work, but I feel, even after speech], but mine are watch it just like finishing a movie, everyone else. more revenge speeches. that it's a work in It's fun. I think of all the people I want progress that you Willard: I've don't get to finto mention, like that drama gotten a few ish. Because you Emmy nominateacher at my school who change as a pertions, which kept me down. My speech and you look son, always amaze back on a film would be all about, ‘I bet me. But there's and you think always some kind you're sorry now!’ It's so about what would of party and you go immature, I admit that.” have happened if it with other celebriwas different. But in –Jennifer Coolidge ties. I tend to kind of general I would say that avoid them. I end up the main feeling would be watching them with satisfied, especially with the friends at a dinner. You watch end of the movie. We were very the whole thing and six months much committed to showing the bad later you forget who won. But it's nice side of this, and the tragedy of what happens if you're nominated, or even if they talk about to this cast and this character. There are you, that you may be nominated. It's wonfunny scenes in this movie that I hope people derful to know that you're not going unnowill like, but then I think we both felt in the ticed. Because I've done some movies that I end that we didn't want to pull punches, just thought were wonderful and you end up because, well, it is tragic at the end. getting cut from the movie. But just because Levy: It's hard to tell sometimes what you you don't get nominated for something doeshave when you see the final product until you n't mean you didn't deserve it. see it with an audience. You're on it so long, Do you every just go so off the rails when Chris is on it so long, and you're constantly you're improvising that you don't know how looking and you're only seeing what's not to end it? working for you. Then you put it in front of Lynch: Oh yeah, I've had to stop a few times an audience and it's “Wow!” Screening at the because you don't know where you're going Toronto Film Festival for Guffman was with it. amazing. It's one of those nights I'll never Willard: I think that over the years we've forget. The laughs started right at the top and learned that we should just go on, because just sort of cascaded throughout the movie, Chris can always cut what he doesn't like.

and I had no idea. I understand always looking at it as a work in progress.

CATHERINE O'HARA/JENNIFER COOLIDGE Have you ever looked into the mirror and given your Academy Award speech? O'Hara: My husband has been nominated a few times for production design and I wrote some pretty stupid speeches for him, but luckily he didn't win. But I won't admit to anything for myself. I don't want to get caught. Coolidge: I'm much more vain than you. I'm always thinking about it, but mine are much more revenge speeches. I think of all the people I want to mention, like that drama teacher at my school who kept me down. I never remember the good moments. I just remember those people that messed me up. My speech would be all about, “I bet you're sorry now!” It's so immature, I admit that. Was there a different feel on the set this time because some of it was scripted? O'Hara: The Purim scenes (the movie within the movie) were scripted on this and the rest was improv. But in Guffman, parts of the play– the show within the show– were scripted and, in A Mighty Wind, the songs were written ahead of time, so there's always something to kind of give you a breath. Because the pressure, and you should be so lucky to have that pressure, but the pressure of coming up with the dialogue you just want to be as good as everyone else. And they're all so good. So you get kind of a break with the scripted stuff. You're kind of a little more aware of what might be funny. We hope. Christopher Guest said he had all of you in mind when he was putting together these characters. Does it always surprise you of how he sees you? Coolidge: I don't think it's any accident that my characters are always exceptionally dumb. I think sometimes he just thinks I'm a dunce. O'Hara: It's because you really do it beautifully. You have such a complex way of coming off as a simpleton. There's an art to it. You speak so carefully that every word is a challenge. It's a work of art. –John Moore

Politics & Passion I

Christian Slater Makes a Comeback in Bobby

n person, Christian Slater was much like a lot of the characters he plays– personable, sexy and adorably nervous. But a resume like his begs the question, “What does he have to be nervous about?” Coming off the high of a well-received London run of One Flew over the Cuckoo's Nest, with a big screen comeback role in Bobby, you’d think he’d be on cloud nine. Despite his unease, Slater eagerly answered questions on topics ranging from politics to his future during a nearly 45-minute interview. Clad in a brown leather jacket, navy blue t-shirt, jeans and blue Adidas sneakers, he sat comfortably on the sofa in his suite at a swanky Buckhead hotel, occasionally nervously twirling his signature brown locks. What made you decide to do this film? Well, [director] Emilio Estevez called me and told me what the subject matter was, and some of the people that were involved. So I signed on prior to reading the script. It was the type of atmosphere in which you’d just be happy to deliver coffee. You were going to come away learning something, just being surrounded by this company. So then I came back to L.A., read the script and was like, “This is a bit of a rough character.” I took that opportunity to represent that part of the population that doesn't agree with the principles Bob Kennedy stood for. That was a challenge, but it was also fun in a way. That's the thing about being an actor: You get to put on somebody else's clothing and mentality, and get away from yourself as much as possible. It also helps to put a little bit more balance into the movie. People like that existed then; they exist today. There are asshole bosses out there and people that don't treat others with a great deal of respect. It just helps to reinforce my own beliefs that everybody matters. I mean, this man who was going to be the next President of the United States is being held in a kitchen at the end of his life by the people he spoke for– a busboy. It just shows you that it doesn't matter what position we have, or if we're rich or poor. We're all going to the same place, so what are we going to do with the time we have while we're here? Who was attached when you signed on? Anthony Hopkins, Sharon Stone, Freddy Rodriguez... those kinds of names. This film is very Altman-esque, with so many great

characters. Yeah, that’s really what impressed me. When you’re making a movie, you don't realize how it’s all going to come together. It could work or not work. But when I sat back and watched the movie the first tim, you could really feel people being drawn into the film as you get to know each of these characters. They’re all relatable, you know? It’s a wonderful way to represent Bobby Kennedy. He was a man of the people, and this was a movie about people and how he affected them. What are you taking away from this project that you didn't have coming into it? A greater understanding of who Robert Kennedy was. The poignancy of that final speech in the movie, I thought that was extraordinarily powerful how it parallels what's going on it today's world. It just served as a great reminder that if we don't learn from our past, we’re doomed to repeat it over and over again. That really struck me. I think it also served as a reminder of where we were going, and where I would like to go again in the future. It helped shape the kind of candidate I would like to look for. So were you happy with the recent election? Yeah, I thought it was very exciting, like maybe we’re moving things in a different direction and getting back on track. I felt politically dormant a long time myself– disillusioned and confused, with a great deal of fear about where we are and what's going on. Even a little bit of embarrassment. I took my son to Africa over the summer and it was a phenomenal trip. We went to a small village, and there were no movies, no politics, no glamour magazines and no crime. I thought that was pretty phenomenal, and everybody seemed pretty happy. All these things we deem so valuable and important, but at the end of the day it’s about community and working together. Then we leave that place and get on the plane, land in London, and there’s a terrorist alert. There wasn't much ground staff available because there were all doing body searches, so there was nobody to bring us a bridge to get us off the plane. This is what we call civilization... What was it like for you to relive the tragic, historic events in the movie? You get that feeling of, “Wow, we were going in this direction! These men represented hope and faith and

what we could be and where we could go.” They really were setting these wonderful examples, and to have them taken away in the way they were certainly set up a great deal of confusion and horror. We haven't really had that kind of visionary leadership since that time. I think we’ve had glimpses of the Kennedy-esque presidency with Bill Clinton. It was fun, exciting and colorful, and kind of made politics sexy. He was smart, and I felt safe with him. He just seemed to be in charge. He was confident, secure, and charismatic. I remember that photo when he was running for office– that photo of him at the Boy Scout rally, shaking John F. Kennedy's hand. You know, things were good for a while. But since counting chads and things like that, I'm just disillusioned by the whole system. There’s a section in the film when Bobby is speaking with kids and saying how, in 10 years, they will be voting and perhaps running for elections. As a parent of a child about that age, how do you feel about the future of the country? This movie helps to remind us of a vision that was there at a particular time, and how it takes one man to capture that vision and hold onto it and lead us into that direction, having that much faith in where we could go and what we could be. That’s what Kennedy was able to tap into, that thing that’s within each and every one of us. You know, let's tear down the walls of segregation and separation and open up the dialogue for communication and honesty and truth. Have we become jaded to politics, or do we just need someone to get us excited again? Yeah, that's what it takes, someone that can get us excited. We need people expressing real clear points of view, and not doing a whole bunch of political backtalk and trying to play both sides. Just take a position, stick with it and follow it through. Try and make the highest choice. Sign onto Barack Obama's website and read about the guy, get some information about these people and see what they really stand for. Switching gears a bit, what have been the factors that have kept your name out there in this industry, where so many actors have come and gone? Well, like Emilio, he’s ridden the rollercoaster and the waves of this business and is now having a won-

derful crest at this point in his career. He’s managed to reinvent himself and do a phenomenal job at that. You just never know. Acting is something I truly love to do and something that I look at as a rare gift. It’s an opportunity to get to bring to life the work somebody took the time to put down on the page, and to convey that to an audience is a real gift and an honor. To be able to go to London and do theater and find plays that I love to do is just a real joy for me. Did you want to be an actor from the beginning? I think I did. My father was an actor, so I clung to his leg when he would leave to go do a show, and he would be forced to take me with him. I would go to the theatre, watch him get ready, put on the fake moustache and the wardrobe, and watch him walk out on the stage in front of the audience. I would hang out in the wings. When he would do a soap opera I would sit there on the camera, and they would move me around on the cameras. It was weird like that. Back then they had guys controlling the cameras. Now, you go visit a soap opera set or a TV set, and it’s all computerized. There’s nobody on the floor anymore. There are no camera men, no stage managers, none of that stuff. They just push buttons and move the cameras around. It’s freaky. What do you prefer– small screen, big screen, or the theatrical stage? I think if I had to pick a personal preference, it would be theatre. That's really where I feel most alive. I like to tell a story from the beginning, middle and end every night, and really getting to absorb myself into it as much as possible. What's your next movie? As a result of this film, I got to meet and shake hands with a lot of wonderful actors, Bill Macy being one of them. I got to hand him a script on the set and network a little bit. So that was good. We were under the same roof for a while, so why not? It's a film called He Was a Quiet Man. Bill was grateful and responded to the script. He was excited, and he was in. That was great. Also as a result of this film, I got to work with Anthony Hopkins on his movie, Slipstream, which he wrote and directed. It feels good just being able to say that sentence. He's a phenomenal actor, and he set the example in the film Bobby as being an extraordinary gentlemen... –Tracey Gould PG 35 • insiteatlanta.com • December 2006

hough acclaimed by critics from the release of his very first full-length feature, 1998's Pi, director Darren Aronofsky's work has nonetheless proven something of an acquired taste for audiences. Daring, confrontational and endlessly artful, films such as Requiem For a Dream are about as far from mainstream Hollywood filmmaking as an indie auteur can get. So it was a bit of a shock when his third film, The Fountain, was greenlit by Warner Bros. with a planned budget of approximately $100 million and Brad Pitt in the lead role. Six years later, The Fountain is finally making it to the big screen, but with Pitt (who dropped out at the last minute, nearly killing the film) replaced by Hugh Jackman and the budget reduced by more than half. Still, it's a remarkable directorial achievement- a haunting sci-fi love poem about the cycle of life and the impermanence of death. I recently sat down with the 37-year-old writer/director for an exclusive interview in which we discussed the film's epic journey from the page to the screen, working with fiancee Rachel Weisz, and the connection between love and immortality. Which was more nervewracking: Waiting for your first child to be born this summer, or the journey to get The Fountain into theaters? My kid was born with complete class and style. I mean, he came out pimpin'! It was really easy. I mean, I'm sure Rachel would give you a different [perspective], but it was a really beautiful, natural, drug-free birth. As a guy, with the first kid, we've got no clue what the fuck is going on! (Laughs) Now, in retrospect, you think you did, but I think it's all really foreign for us until you're actually there. But the film was a long, long trip. You've said before that you always follow the road that you have the most passion on. Why were you so passionate about this project? It's a hard thing to explain passion. I think, to get outta bed every day for all those years and be able to face people who are saying “No” to you- which is always gonna happen on any film you do- you've gotta believe in your characters, your story, your concept. As for why I did, I dunno... It's weird, because all you have is your conviction of what you think is cool and interesting. Because once you lose that, you're a gun for hire. And there's nothing wrong with that: It's a life. But I've always been the initiator of projects, and it's probably the only I know how to get a project up and running. As an “auteur,” is it difficult to continue nurturing your own projects from start to finish as you climb higher and higher up the Hollywood ladder? What do you mean? Why would it be hard? Because the more money studios sink into a project, the more say they want to have in its creative direction, and the more you're judged by the success of your last film. I don't really want to get caught up in that game. I wanna make the films that I wanna make, and if I don't have the power to get them made at that time then I have to figure out a film of a different scope I can make. Right now we're developing something that's really tiny, and a Biblical epic that's really, really big. The reason I'm doing that is because, if I can figure out a way to make the big one I'd like to do that, and if I can't then I'll make the small one. I'm curious about how you go about pitching a film like The Fountain to a major studio. I've read that you described it as a “post-Matrix metaphysical sci-fi...” Yeah, that's not bad. How do you begin to explain this film to people who haven't seen it? The best thing that's come out of these Q&A screenings– and it keeps happening in every town– is that kids come up to me and say, “That's not a movie, that's an experience!” That, to me, is a great compliment, because they're transported and taken on a ride as opposed to it being like any other movie they could go see on a Friday or Saturday night. That's what I always wanted to do- to PG 36 • insiteatlanta.com • December 2006

THE FOUNTAIN OF TRUTH DARREN ARONOFSKY ON LOVE, LIFE & IMMORTALITY

create an all-encompassing experience for people, so they can be entertained but also get taken somewhere very different from where they're used to going. As for the studio, they were very open. When I sent them the script, the head of the studio said, “This is the most original thing I've read,” and he wanted to do it. There were concerns and questions, but they were excited to get involved. It was obviously a huge blow when Brad Pitt dropped out of the lead role. How did that affect the final product? You're a writer, so you know how it is when you finish an article and your computer crashes and you didn't back it up. We've all had that happen once. You go back to the drawing board and it's a pain in the ass to start, but then it actually comes out better. I think it's because you learned from what you were struggling with before. So I've always seen myself like a samurai warrior in my garage, just honing my blade. [Losing Brad] just gave me more time to do my homework and make it meaner and leaner and cleaner, and that's the result. The first film would've really been something, and I was confident that it would work. But having more time to think and reflect and have life experiences? I can only imagine that it made it better. And I hope to continue to make better and better films as I get older. I read an article that said the budget was slashed by more than half? Yeah, the thing is it wasn't gonna get made [at that price]. So I tried to figure out a way to do it for less money. The effects were done for nothing. There's no CGI in the movie; everything was photographed, with little tiny chemical reactions and microorganisms shot through a microscope and then manipulated digitally. What unique qualities do you think Hugh Jackman brought to his performance? Hugh is a very untapped talent. At the time I cast him, all he had done was basically Wolverine, so I didn't know what he could do. But I saw him on stage in the Tony-winning role of Paul Allen in The Boy From Oz, and even though that was very different, he's got so much charisma that I figured I would take the chance. He just came in with his faucets running. Let's talk about Rachel. I can't imagine directing the woman you love in a sex scene like that, much less such as a brutally emotional death scene. Were those difficult to film? I didn't have a problem with the sex scene because I know I've got a better chest than Hugh. (Laughs) What the hell is she gonna feel that she hasn't felt before? So I wasn't concerned about that, but the death scene was very emotional. It was hard, but of course I knew she wasn't dead. It's not like I was believing the illusion; I was more concerned with whether she was fully holding her breath and not moving, I was also concerned because Hugh was doing CPR on her, which is very dangerous and painful. We put a fiberglass shield across her body to try to take some of the force, because of the aggressiveness I wanted him to go at it with, but I was still a lot of pressure. So I was more concerned about the actors' safety and comfort... as well as the fact that she was playing dead. Were you and Rachel a couple when you wrote this? No, I wrote it before I met Rachel. I mean, you look at it now and there is a connection there, but she was the actress and I was the director. It wasn't a conscious love poem to Rachel. If anything, it was a love poem to death, but there are a lot of things that are very personal about it. Her character is saying “Finish it” to Tommy and I've been trying to finish this movie all these years, so I imagine I was telling that to myself while I was writing. But you're not fully aware of that stuff at the time. What do you think the film has to say about love, and the way it impacts our lives? I think one of the great things we as people can do in our short time here on this planet is to love. That love somehow is a tool to transcend, and to connect with immortality. -B. Love

Sports

FANATIC A Monthly Sports Wrap-Up by DeMarco Williams

• If you called LaDanian Tomlinson the best running back in the NFL, you wouldn't get a second look. If you called LT the best player in the League, you'd only get a cursory stare from the Peyton Manning Fan Club prez. Truly, what we're witnessing every weekend from San Diego's No. 21 is nothing short of miraculous. Your grandkids will undoubtedly ask about Tomlinson, and here's what you can say about his glorious 2006 season: “Well, in 2006 LT broke the record for most touchdowns (84) in Charger history, became just the second player ever to have back-to-back games of 150+ rushing yards and three TDs, shattered the record for most TDs in a five-game span (15) and the first nine games of the season (18), and became the quickest to 100 career scores (89 games). And get this: He did it all without a single endzone dance…”

• Though they've started out the gate slowly (and endured an embarrassing coach/player spat or two), Fanatic isn't giving up on the Chicago Bulls just yet. There's still plenty of talent on that young team to get it done in an Eastern Conference that's yet to impress on any level. • “He needs a change of scenery. They need a change of scenery. Trade Mike Vick!” –The Chicago Sun-Times' Jay Mariotti, after the Falcons lost their fourth straight game on November 26 and before rumors of No. 7 potentially going to Oakland began swirling • Fanatic wants to clear something up in this whole Atlanta football controversy. Though Michael Vick's not showing the consistency of someone in his sixth year and making $100+ million (or, from the looks of this picture, the maturity either), it's not all his fault. The offensive line has been just that– offensive. Wideout Roddy White gives up on routes. Michael Jenkins can't shake opposing corners. And on those rare occasions when Vick can find a breakdown in the defensive scheme, more often than not the receiver drops the pass. It's ridiculously frustrating from the stands. One can only imagine what it's like on the field. • “We all know Manny can hit 40 homers and drive in 120 or more runs. We know he's going to do that. He does it every year. Do we know J.D. Drew's going to do that? Nothing against J.D. Drew, [because] hopefully he will do that, but I think we need to keep Manny. He protects Papi [David Ortiz]. Who's going to protect Papi if he's not there?” –Red Sox pitcher Jonathan Papelbon on the thought of Ramirez leaving Boston

• Speaking of records, the things Hawaii gun-slinger Colt And finally… Brennan did with a football this • SLAM Magazine's top five season were unbelievable, NBA players: 1) Kobe Bryant, throwing for 4,589 passing yards 2) LeBron James, 3) Dwyane and 51 touchdowns. The latter's Wade, 4) Dirk Nowitzki and 5) only three shy of the NCAA sinTim Duncan… Fanatic's top Michael Vick, giving a whole new gle-season record (and he likely five underrated NBA players: 1) broke it on Dec. 3 against meaning to “Dirty Bird.” Joe Johnson, 2) Shawn Oregon State). But the thing sepMarion, 3) Dwight Howard, 4) arating Brennan from the David Paul Pierce and 5) Zach Klinglers and Tim Rattays of Randolph...The come-fromthe world is that he put up eye-popping numbers against majors nowhere Rutgers football team sold a school-record 3,500 (a combined 784 yards passing and 5 TDs vs. Alabama and 2007 season tickets in the first day… Pittsburgh's amazing Purdue) and mid-majors (409 yds, 5 TDs vs. Fresno State). It's a Sidney Crosby had 132 points in his first 100 career NHL shame the poised junior didn't get more national exposure. games… Since the first NCAA men's water polo championship in 1969, no team from outside of California had reached the • “Upstairs in the press box in 1998, I was happily writing final. Navy seeks to be the first in early December… The way columns in praise of [Mark] McGwire and his prodigious, baseball teams tossed millions to Juan Pierre (Dodgers) and strong-man homers. I didn't ask the tough questions about what Gary Matthews Jr. (Angels) last month, don't you wish you McGwire was putting into his body to enhance that strength. I took the sport a lil' more serious growing up?… Grant Hill, largely failed in my job as a journalist. But is it fair to punish who's averaging a healthy 15.6ppg this young campaign, may McGwire with my retroactive guilt?” –St Louis Post-Dispatch retire at the end of the season…We're begging you to start columnist Bernie Miklasz, pondering if Big Mac, who's eligible watching the Buffalo Sabres in NHL action. That team is simfor hall of fame induction in '07, is worthy of his vote ply amazing!

Local Spotlight Y

es, it's early and there's a whole season of work to be done, but with a 4-2 season opening, this year's Hawks are looking quite a bit different from the 0-5 record of the same period last year. Head Coach Mike Woodson attributes it to experience. “The young guys are starting to grow up and figure out what NBA basketball is all about. We got them two years ago and they just didn't have a clue. They've had a couple of years to gel together, and bringing Joe in has been a major, major plus for the surrounding cast.” Their November 11 contest against the Seattle Supersonics, though a loss, showed a sense of calculation little seen in recent years. Like watching a chess match on the court: the Hawks attempted a run in the 2nd quarter but realized they were outmatched, not having subs for either of the Joshes, so they kept the fire on simmer, matching the Sonics point-for-point, which rolled into a nail-biting finale.

Games like this don't only keep the crowd on its toes. “I actually like close games. I think they're fun,” said Bob Hill, head coach of the Supersonics. “We answered, they answered, and we answered last. It was a fun game.” But many of the same issues from previous years still plague them: turnovers and fouls, plus lagging defense. Their free-throw percentage fell as well. Woodson said it came down to injuries and fatigue. “Tonight we were a little shorthanded. Not having Speedy and Marvin in a game like this, it puts too many minutes and too much pressure on the younger guys. [Both Smith and Childress] went the whole second half and into overtime,” Woodson said.

Must-See TV

Top 5 Games this Month

AFC CONFERENCE MATCH-UP

HEISMAN TROPHY PRESENTATION

HOLIDAY BOWL

ACC CHAMPIONSHIP

OHIO STATE AT FLORIDA

December 24 (4:15PM, CBS) Whether it’s San Diego at Seattle or Cincinnati at Denver, this game will make the chore of wrapping lastminute presents seem a lot less arduous.

December 9 (8PM, ESPN) The tale of three QBs: the favorite (OSU's Troy Smith), the fussed-over (Notre Dame's Brady Quinn) and the forgotten (Hawaii's Colt Brennan).

December 28 (8PM, ESPN) Of the December bowls announced at press time, this Texas A&M/California meeting down in lovely San Diego appeared the most interesting.

December 2 (1PM, ABC) $100 to anyone who can prove he chose the surprising Wake Forest and Georgia Tech to meet up in Jacksonville for a chance at a BCS bowl invite.

December 23 (TBA, CBS) If star freshman Greg Oden is back from injury by tip-off, this game with the defending men's hoops champs becomes even bigger for the Buckeyes.

Joe Johnson recognized the mistakes. “Our defense was definitely off tonight. We didn't come in with key stops and we couldn't keep our guys in front of us and y'know, they got a lot of easy baskets.” Josh Smith commented about his shooting. “I was missing all game. When I made them, I thought for sure we were going to win. I felt it, and I felt our confidence boosting. We still didn't get it done.” As Woodson said, “Tonight was a game of inches.” Every point counted and those free throws were sorely missed in a game that needed every ounce of effort and every second. To their credit though, the loss was only by one point– a buzzer-beater by Ray Allen, at that– for a franchise that many are accustomed to seeing lose by ten points or more. To them, however, it's nihil ad rem. Joe Johnson set a franchise record that night with the most points scored in every opening game of the season. He didn't care. “That would feel better if we'd gotten a victory tonight. So it really doesn't matter,” he said. “We just have to chalk tonight up, get back to the drawing board and get ready for Milwaukee.” –Andrea M. Hatter PG 37 • insiteatlanta.com • December 2006

CAPRICORN

TAURUS

VIRGO

With your batteries worn down, you may not feel like the life of the holiday party. But with Venus entering your sign mid-month, your desire for love (and desirability) will be at a peak.

Whether it’s a big Xmas bonus or a minor cash-flow issue, money will be at the forefront for you this month. Take some time to analyze your budget and plan for future financial security.

your stars this month are all about home and family, so if there’s not already some birth or marriage in your future, don’t be surprised to see some new domestic development.

AQUARIUS

GEMINI

May 22nd thru June 21s

Sept. 24th thru Oct. 23rd

Aquarians are known for a spirit of fellowship, but don’t be surprised if December finds friends or co-workers stretching your patience. Be careful, and distance yourself if need be.

Been longing for a change in your love life? Expect relationship developments this month, for better or worse. Though the path may seem a bit familiar, it’s actually new territory.

The recent conjunction of Mars and Venus offer an opportunity to make great changes in your life. With it’s love, creativity or your career, the stars are offering you a chance to shine.

PISCES

CANCER

Apr. 21st thru May 21th

Dec. 22nd thru Jan. 20th

Jan. 21st thru Feb. 19th

Aug. 24th thru Sept. 23rd

LIBRA

SCORPIO

June 22nd thru July 23rd

Oct. 24th thru Nov. 22nd

Working extra hard to take care of others? Don’t forget your duties to yourself. The Sun follows venus into your love zone, so the end of the year promises to be very romantic for Crabs.

Your notorious skills as a peacemaker will be in high demand this December, but make sure that your efforts to please others don’t leave you feeling underappreciated.

ARIES

LEO

SAGITTARIUS

Be wary of arguments this month, as most will prove unworthy of your time and energy. Try to maintain perspective, and expect a renewed sense of optimism by the New Year.

Leo life will be good these next few weeks, with fewer obstacles in your path and increased creativity and productivity. The more you put into life this month, the more you’ll get out of it.

Go Archer, it’s your birthday... This month offers intense opportunities for work or play. Don’t be surprised if this electric but unstable atmosphere creates a life-altering moment.

Feb. 20th thru Mar. 20th Subtle Pisces isn’t known for obvious ambition. But this month you need to be prepared for opportunity’s knock, and aggressive enough to grab hold of a good chance once you see it.

July 24th thru Aug. 23rd

Mar. 21st thru Apr. 20

Nov. 23rd thru Dec. 21st

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