Though this album is great (and my favorite of the year), it just wasn’t good enough for this list. It came in at unlucky number 11.
If there’s one thing Spinning Platters does differently, and especially nerd-ish, it is our Album of the Year list. All the contributors get to nominate their favorite albums of the year (there were 53 nominees this year) then a grueling listening/voting process starts until we have it narrowed down to the top ten. While not everyone may agree with the final list, it is democratic and popular opinion that must rule. So without further ado, here is our top ten!
Spinning Platters film critics Carrie Kahn and Chad Liffmann present their Top 10 Films of 2013. Here’s Chad’s list, presented in the order of which he feels they deserve to be ranked (1 being the best, 10 being pretty damn good too!)
1.) Inside Llewyn Davis
“If it was never new and it never gets old, then it’s a folk song”
The Coen brothers newest film is a hilarious, thought-provoking, darkly intelligent, musical journey into the 1961 New York folk music scene. Featuring masterful performances under the direction of master filmmakers, Inside Llewyn Davis is a documentary of sorts — accurately capturing a time period and a historical mentality…yet its message is timeless.
Spinning Platters film critics Carrie Kahn and Chad Liffmann present their Top 10 Films of 2013. Here’s Carrie’s list, presented in alphabetical order.
1.) All is Lost
Robert Redford struggles against the elements in All is Lost.
That a film with just a single actor and virtually no dialog can be absolutely riveting is a testament both to Robert Redford’s brilliant acting and to writer/director J.C. Chandor’s exceptional skill at his craft. Redford says more with his rugged face and worried eyes than most actors do with a wordy, five-star script. Not since Jaws and The Perfect Storm has a film so totally absorbed us in a man-against-sea survival story. And Chandor’s ambiguous ending lends itself to hours of debate and discussion; everyone who has seen this film has a strong opinion, and that a near-silent film can generate such passion makes it special and noteworthy. Continue reading “Film Feature: Carrie’s Top 10 Films of 2013”
Ben Stiller’s Walter works up the nerve to have a conversation with Kristen Wiig’s Cheryl in The Secret Life of Walter Mitty.
Ben Stiller, directing his first feature since 2008’s very funny Tropic Thunder, hasn’t made a great film with The Secret Life of Walter Mitty, but it’s a very pleasant diversion with a few genuine laughs, a sweet storyline, and some spectacular cinematography. Stiller’s film is the first to try to adapt James Thurber’s classic 1939 New Yorker short story of the same name since the 1947 Danny Kaye version. Here, though, working from a script by Steve Conrad (who also wrote the generally well-received The Pursuit of Happyness), Stiller doesn’t try to faithfully adapt the story so much as use elements of it to create an updated, brand new version. Continue reading “Film Review: The Secret Life of Walter Mitty”
A future where someone looking like this (above) isn’t creepy.
Spike Jonze has delivered a cinematic gem once again, this time in the form of the incredibly touching, heartfelt, and honest, Her.Her marks the first time Jonze has been the sole writer of one of his directorial efforts, and his remarkable talent is on full display. There’s a lot of perspective and emotions to be gained from this simple story about the romantic relationship developed between a lonely writer and an operating system. There are a lot of things that could’ve gone wrong, too, but all are avoided. First and foremost, the glue that manages to bind all the odd and challenging (and borderline creepy) pieces together is its believability. Thanks to Jonze’s poignant script and memorable performances by Joaquin Phoenix and Scarlett Johansson, Her bridges the gap between what we fear technology may become and an ideal version of what technology could accomplish, presented in the form of a romance more sincere than most romances dare to be.
Icona Pop were supposed to play The Fillmore back in August. I was out of town, and bummed that I couldn’t make it. I don’t generally get excited about illness, but I was happy that one of the members falling ill led to a rebooking to a date I can make. The rescheduling didn’t hurt attendance, either, as it was still the hottest ticket in town. They are riding high on a debut record where nearly every track is all over the radio, from the spring time smash “I Love It,” to the current “All Night,” they are one of the few break out acts of 2013. So selling out The Fillmore was a most epic way to end a stellar year.
There’s a professional partier underneath all that hair.
Last time Spinning Platters caught up with Andrew W.K., he was playing Ramones songs with Marky Ramone’s band and giving me his thoughts on marriage. Having finished that tour, he’s now back on the road with a solo keyboard tour called the Party Hard Holiday Tour. He brought his particular brand of party rock (better than other brands of party rock) to a new venue called Assembly in Sacramento, and I made the road trip. Continue reading “Show Review: Andrew W.K. with Maxxx and Lonely Avenue at Assembly, 12/22/2013”
All conversations converged to one singular point at the close of 1999: The End of the World, and because of it, every possible best list of the century. Whether it was about greatest album, or greatest toenail clipper, a list was compiled by the fanciest per-milenium robots. Now the singular list missing from the cornucopia of lists was: The Music of 1999. Everyone, consumed in their chicken little theories of Y2K and end of the world were too mad to see what was really happening. The end of music as we knew it! In reality it seemed to set the youth of America back about twenty years. (If you take a look at the top record sales for 1999, trust me, you’ll want to cry). I’m as easy going as the next guy, but the Grinch himself would have shuddered at the sound of pop music sung by teen queens, boy bands, and all the music to come out of the entire state of Florida. They all belonged on the naughty list, and should have been banished to the island of misfit albums.
Oscar Isaac cradling the real star of Inside Llewyn Davis.
In a dimly lit smoky bar, an unshaven, slightly disheveled, solo male singer leans into a mic and begins gently singing, ‘Hang me / Oh hang me / I’ll be dead and gone.’ For the next three or so minutes, we are up close and personal to this singer, watching his calm disposition as he sings out the entirety of the song, not even once looking up at the quiet audience wrapped up in the beautiful melody, drinks, and cigarettes. This is how Inside Llewyn Davis begins, the extraordinary and immaculately conceived new film by Joel Coen and Ethan Coen, or as we know them, the Coen brothers. This singer is, of course, Llewyn Davis, and these opening lyrics are deliberately chosen to open the story — they set the tone and capture the somber outlook of the title character. Based on a pivotal moment in our nation’s cultural history, and using a fictionalized version of folk musician Dave Van Ronk to capture the experience of many lost artists of that time period, Inside Llewyn Davis is a pointedly dark and comical drama that serves as an allegorical tale and a cinematic exposé of the unfortunate “futility” of many talented artists.
