Music: [from metacritic]

Critics pick the best albums of 2011

Added in last update (Jan. 2): Cleveland Plain Dealer, NOW Magazine

Below is our updated running tally of the albums most frequently mentioned by individual music publications in their year-end Top Ten lists. Although most of the lists come from publications whose reviews are included on this site, we have also included a few extra lists from prominent music stores, websites, and publications not normally found on Metacritic. Note that if a source ranks more than the standard 10 albums, we will not include titles ranked 11th or worse. In case of a tie for first or second, each album will receive the full points for that position. Our points system works as follows:
•3 points for each 1st place ranking
•2 points for each 2nd place ranking
•1 point for being ranked 3rd – 10th, or for being included on an unranked list

1 Let England Shake by PJ Harvey

2 Bon Iver by Bon Iver

3 21 by Adele

4 Watch the Throne by Jay-Z and Kanye West

5 whokill by tUnE-yArDs

6 House of Balloons by The Weeknd

7 Strange Mercy by St. Vincent

8 Take Care by Drake

9 Helplessness Blues by Fleet Foxes

10 Black Up by Shabazz Palaces

11 David Comes to Life by Fucked Up

12 James Blake by James Blake

13 Smoke Ring for My Halo by Kurt Vile

14 Hurry Up, We’re Dreaming by M83

15 Skying by The Horrors

16 undun by The Roots

17 Kaputt by Destroyer

18 The Whole Love by Wilco

19 Father, Son, Holy Ghost by Girls

20 Bad As Me by Tom Waits

21 The English Riviera by Metronomy

22 Burst Apart by The Antlers

23 Wild Flag by Wild Flag

24 Metals by Feist

25 The King of Limbs by Radiohead

26 Days by Real Estate

27 Glass Swords by Rustie

28 The King Is Dead by The Decemberists

29 Nostalgia, Ultra. by Frank Ocean

30 So Beautiful or So What by Paul Simon

I love the fact that Metacritic does these compiled lists, so you hopefully get the individual biases of all the individual publications and critics filtered out somewhat, and you get a picture of the artists that got the most aclaim from the most number of critics. The result is hard to argue with, although there are some surprises. For me, I would have included Foo Fighters and Elbow, instead of some of the hip-hop artists, but that’s just me.

For movies, the list looks like this:

Critics pick the best movies of 2011

Added in last update (12/31): Baltimore Sun, Houston Chronicle, Miami Herald, The Playlist, Reelviews, Reverse Shot, Salt Lake Tribune, St. Louis Post-Dispatch, Time (Pols)

Below is our updated running tally of the films most frequently mentioned by individual critics on their year-end Top Ten lists. Note that if a critic ranks more than the standard 10 films, we will not include films ranked 11th or worse. In case of a tie for first or second, each film will receive the full points for that position. Our points system works as follows:
•3 points for each 1st place ranking
•2 points for each 2nd place ranking
•1 point for being ranked 3rd – 10th, or for being included on an unranked list

1 The Tree of Life

2 The Artist

3 Drive

4 The Descendants

5 Hugo

6 Melancholia

7 A Separation

8 Certified Copy

9 Take Shelter

10 Moneyball

11 Margaret

12 Tinker, Tailor, Soldier, Spy

13 Martha Marcy May Marlene

14 Shame

15 Beginners

16 Uncle Boonmee Who Can Recall His Past Lives

17 Bridesmaids

18 The Skin I Live In

19 Meek’s Cutoff

20 We Need to Talk About Kevin

21 Mysteries of Lisbon

22 Poetry

23 A Dangerous Method

24 Weekend

25 The Interrupters

26 The Girl with the Dragon Tattoo

27 Midnight in Paris

28 War Horse

29 Rise of the Planet of the Apes

30 Of Gods and Men

31 The Future

32 Margin Call

On this list I was a bit surprised that “Dragon Tattoo” wasn’t higher, but I know some critics were not big fans of it. I was also surprised because there were a number of movies on this list I had never heard of, but will now make it a point to see if I can.

Here’s the TV list:

Critics pick the best TV shows of 2011

Added in last update (Jan. 2): Cleveland Plain Dealer

Below is our updated running tally of the TV shows most frequently mentioned by individual critics in their year-end Top Ten lists. Note that if a critic ranks more than the standard 10 shows, we will not include titles ranked 11th or worse. In case of a tie for first or second, each show will receive the full points for that position. Our points system works as follows:
•3 points for each 1st place ranking
•2 points for each 2nd place ranking
•1 point for being ranked 3rd – 10th, or for being included on an unranked list

1 Breaking Bad (AMC)

2 Homeland (Showtime)

3 Downton Abbey (PBS)

4 Parks and Recreation (NBC)

5 Game of Thrones (HBO)

6 Louie (FX)

7 Justified (FX)

8 The Good Wife (CBS)

9 Modern Family (ABC)

10 Community (NBC)

11 Friday Night Lights (DirecTV/NBC)

12 American Horror Story (FX)

13 Boardwalk Empire (HBO)

14 Enlightened (HBO)

15 The Walking Dead (AMC)

16 Revenge (ABC)

17 Awkward. (MTV)

18 The Big Bang Theory (CBS)

19 Happy Endings (ABC)

20 The Middle (ABC)

Of these I was most surprised by The Middle, which I’ve never really watched because it seemed, well, dull, and Awkward, which I have watched, but seemed just ok. I’m glad that Happy Endings got included, because I think that’s one of the best comedies in recent years. I love a lot of the others in the top ten, although I’ve never seen Game of Thrones because I don’t take HBO anymore, and I haven’t watched much of The Good Wife, but I’ve heard good things. I like Louie, but I’m a little surprised it’s ranked as high as it is because, to me, it’s a bit uneven. I haven’t seen Boardwalk Empire or Enlightened, but I’m surprised we don’t see Dexter on this list.

Let me know your thoughts on these lists and other top things from 2011.

Augustana is a band that evolves with every album, and their new self-titled album, out now, is no exception. We’ve talked about Augustana before here and here, and as previously noted, the band started out as straight-up pop-rock balladeers, but with their last album switched gears a bit into a bluegrass-influenced folk/americana sound.  This new album continues in that path, while bringing along some of the pop hooks that brought the band fame to begin with.  To my ear, this album sounds a bit like Sam’s Town, the Killers album from a few years back that I really liked, but there are also legitimate comparisons to Dylan, Springsteen and even early U2.  Dan Layus is a gifted singer and songwriter, and his college-buddy bandmates have gelled into a mature band that just gets better with every album. 

Augustana and The Fray happen to be label-mates at Epic and share the distinction of being on tour with The Damnwells when the Epic infamously dropped that band mid-tour (as documented in the movie Golden Days).  The label gave the two remaining bands the option of ditching The Damnwells, and to their credit, they said no and continued to tour with, give solid support to, and remain fans of, the band that their label shafted.  Karma being what it is, Augustana has prospered from that moment on, and the Fray is touring with U2 this summer (and I will be seeing that show next month).

If you have previously been a fan of Augustana, this new album will not disappoint you.  If you have never heard them before, this album is a fine introduction, and if you’ve been on the fence, this offering should push you solidly into their camp.  Take a listen and let me know what you think.

I think I’ve listened to the entire album about 25 times since then. I just can’t get enough of the hypnoticky goodness of Pet Sounds.

Here are some interesting tidbits from the Pet Sounds wiki:

Pet Sounds is the eleventh studio album by the American rock band The Beach Boys, released May 16, 1966, on Capitol Records. It has been widely ranked as one of the most influential records ever released in popular music and has been ranked at number #1 in several music magazines’ lists of greatest albums of all time, including New Musical Express, The Times and Mojo Magazine. In 2003, it was ranked #2 in Rolling Stone’s 500 Greatest Albums of All Time list.

…

The real catalyst for Pet Sounds was the U.S. version of The Beatles’ new LP Rubber Soul, which was released that December in time for the Christmas market. (The British version of Rubber Soul was edited prior to its release in the U.S.A. to emphasize its folk sounds.)

Wilson later recalled his first impressions of the groundbreaking album:

“I really wasn’t quite ready for the unity. It felt like it all belonged together. Rubber Soul was a collection of songs … that somehow went together like no album ever made before, and I was very impressed. I said, “That’s it. I really am challenged to do a great album.”"

…

Although not a big seller for the band originally, Pet Sounds has been influential since the day it was released. Rapturously received in Britain, it was lauded in the music press and championed by many top pop stars. The Beatles, for example, have said that Pet Sounds was a major influence on their album Sgt. Pepper’s Lonely Hearts Club Band, and Paul McCartney has repeatedly named it as one of his favorite albums (with “God Only Knows” as his favorite song) – completing a circle begun by The Beatles’ influence on Wilson. McCartney stated that:

“It was Pet Sounds that blew me out of the water. I love the album so much. I’ve just bought my kids each a copy of it for their education in life … I figure no one is educated musically ’til they’ve heard that album … I love the orchestra, the arrangements … it may be going overboard to say it’s the classic of the century … but to me, it certainly is a total, classic record that is unbeatable in many ways … I’ve often played Pet Sounds and cried. I played it to John [Lennon] so much that it would be difficult for him to escape the influence … it was the record of the time. The thing that really made me sit up and take notice was the bass lines … and also, putting melodies in the bass line. That I think was probably the big influence that set me thinking when we recorded Pepper, it set me off on a period I had then for a couple of years of nearly always writing quite melodic bass lines. “God Only Knows” is a big favourite of mine … very emotional, always a bit of a choker for me, that one. On “You Still Believe in Me”, I love that melody – that kills me … that’s my favourite, I think … it’s so beautiful right at the end … comes surging back in these multi-coloured harmonies … sends shivers up my spine.”

Other artists have also cited Pet Sounds as one of the all time classic albums. Eric Clapton stated that “I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that’s ever knocked me out and rolled it all into one.”

Elton John has said of the album, “For me to say that I was enthralled would be an understatement. I had never heard such magical sounds, so amazingly recorded. It undoubtedly changed the way that I, and countless others, approached recording. It is a timeless and amazing recording of incredible genius and beauty.”

Beatles producer George Martin stated that “Without Pet Sounds, Sgt. Pepper wouldn’t have happened… Pepper was an attempt to equal Pet Sounds.”

Bob Dylan has said of Brian Wilson’s talents, “That ear – I mean, Jesus, he’s got to will that to the Smithsonian.”

The thing about this album is that it works best as a whole. There are some recognizable singles, but taking them out of the whole does them a disservice I think. Playing singles from this album is sort of like playing one movement from a great symphony — it can work but it doesn’t give you the whole picture.

The album is only about 37 minutes long so it is not a chore to listen to the whole thing. And because of the hypnoticky goodness I have found it works better than most albums as background music to other work I’m doing. (Thus my dozens of listens in just a week).

If you already own a copy of Pet Sounds I recommend you fire it up again for old times sake. If you don’t own a copy I recommend you follow my lead and get around to getting a copy. (I bought mine a Amazon.) And for the rest of you, you can listen here. Give it a little time to marinate before you rush to judgment though. This is an album that grows on you and then won’t let go of you.

Skyline is an “Independence Day” type alien invasion film set primarily in LA and told through the perspective of a small group of people trapped in a penthouse while trying to survive the battle for the city between the aliens and the military.  The movie is directed by the brothers Strause, who are previously known for creating the special effects sequences for many music videos, commercials and movies such as  300, X-Men: The Last Stand, Fantastic Four, Terminator 3: Rise of the Machines, and The Day After Tomorrow. 

There are no big stars in the movie, and the directors have boasted that they filmed the whole thing for 500k, then spent 10 million on the effects.  The experience of watching the movie bears out this boast in spades, as it looks like a special effects showpiece where the actors have little to do and less to say while they run and tumble back and forth, up and down, and  to and from one effects set piece after another.  The effects are truly spectacular, but the movie goes from mildly interesting to kinda creepy to an ending that can only be described as icky and grotesque.  Hardcore effects fans and Sci-fi junkies might be entertained; others should stay away.

Oh, how apt.

First, the good about Robin Hood: Cate Blanchett (an Australian) is excellent as Marian, transforming her beyond Token Woman status. She lights up every scene, as they say. Also, Blanchett nails the East Midlands accent. More on that in a sec.

The fight scenes are decent and King John (played by Oscar Issac, a Guatemalan) is suitably decadent.

Other than yet, it…well, it stinks. Or stinketh if you prefer your English ye olde style, although one need not worry about historical credibility when watching this film. After all, we are to believe that Robin Hood had a hand in Magna Carta.

There are two problems with Robin Hood, one of which an American audience might be able to forgive but which for British audiences is a hammer to the head: the accents, oh the accents!

Crowe’s is simply awful, ranging from Irish to Australian to vaguely northern English. What’s worse is that it seems to switch half way through the film. To an ear that can hear these accents, it’s simply too distracting. Rather than enjoy Robin’s rousing speech to the barons, all I could hear was Crowe’s weird accent. It’s embarrassing, something I think Crowe knows hence his rude behaviour in a recent BBC interview.

Given that this film was made in the UK by a British director and crew, one wonders why someone didn’t tell Crowe how awful he was. Or were they afraid he’d throw a telephone at them? Probably. But then again, if Locksley can be Swedish and Little John Scottish, I suppose no-one noticed. Kudos to Blanchett for being the only one who bothered to get the voice right.

All of that may fall on deaf ears outside of the UK, so let’s consider how else the film fails. Ridley Scott’s Gladiator worked so well because beyond the swords and togas there was a compelling personal tragedy which made us root for Maximus. This is simply not the case for Robin Hood: we don’t care about Robin, we don’t care if the French conquer King John’s England, we don’t believe that Robin’s father was a 12th century MLK, we’re not interested in the feral children of Sherwood Forest, and sorry, but RUSSELL CROWE’S ACCENT IS AWFUL AWFUL AWFUL.

Robin Hood is set up for a sequel. The legend is interesting enough to offer hope, but not unless Crowe gets a new voice coach and Scott finds some way for us to care about Robin. Having the Sheriff of Nottingham crucify Marian and sell him into slavery might work.

As we’ve previously discussed, there are a lot of new albums by great artists coming out this year, and the best of the current crop that just hit the pavement may be the new album High Violet by The National.

The National have never been accused of being overly cheerful. Rather, they follow the trail of woe blazed by bands like The Cure, Joy Division and Interpol in which melancholy and dolor are understood as the expected state of being. 

Because of this, such bands, and The National in particular, sometimes are victims of their own somberness, in that it makes them less accessible to the insufficiently medicated.  So much so that in one early performance of “Terrible Love” from this album, the band felt it necessary to explain to their audience that “Terrible Love is actually a good thing… it doesn’t mean we’re depressed.” 

But with this band, persistence yields great rewards.  Their last two albums, Alligator (2005) and Boxer (2007) were amazing, especially when you focused on the standout singles:

The new album doesn’t appear to have a standout single per se, and it never seems to reach the climax that the others did, which is a disappointment until you go back and realize that the whole album is a standout. Some songs are better than others, of course but there is not a weak song on the album and the songs seem to stand together better than most any album in recent memory. The lyrics, in particular, bear repeated hearings, especially since lead singer Matt Berninger’s vocals sometimes seem to seep directly out of his subconscious. And how can you argue with the romantic tenderness of a ballad that ends like this:

I was afraid I’d eat your brains
I was afraid I’d eat your brains

Cause I’m evil
Cause I’m evil
Cause I’m evil

We’ve talked about the new FX show “Justified” a little bit already, but now that I’m addicted to it like hillbilly heroin I thought I’d try to justify my obsession (so to speak). As has been said, there’s the great writing, which infuses all aspects of the show, but there are other appealing elements as well. To enumerate just a few:

1. The theme song: There haven’t been many great TV theme songs lately (I guess they waste precious advertising minutes), but this is definitely an instant classic:

This comment, from a YouTube user who was apparently frightened by the new genre that this song seems to spring from, is priceless:

Holy fat hogs in the sun! I am going to start drinking right now and it’s only 8:40 in the morning. Please tell me this won’t be the new wave. Gangstagrass? If? ol Snoop starts ta playing a banjer (not banjo) I will start drooling from my feeble brain. The banjer is a deadly instrument that causes mind rot and soul shivers. Run for the hills when you hear the plinky plink.

Awesome.

2. The villain: Boyd Crowder has to be the most intensely bizarre villain ever created since Jason Compson (for evidence, see the clip at the top). It’s still not clear exactly what his game is, but there are some twisted things going on in his brain, you can bet your pick-up truck.

3. The women: Joelle Carter and Natalie Zea as Ava and Winona are smokin’ hot, but that’s just the tip of the iceberg. These women are deeply complicated, intelligent and interesting characters with plenty their own plans and they’re only telling the guys about half of it. The start of the series roughly coincides with Ava’s decision to end her abusive marriage via deer rifle just in time to meet up with Raylan, newly reassigned back to the place of his youth. Winona is Raylan’s ex-wife, whom he met in a bar in Salt Lake City, and who is now a court reporter in the same town. Unresolved feelings and crossed motivations abound.

4. Tim Olyphant: There are a lot of great members to this cast, but Olyphant, as Deputy Marshall Raylan Givens, pretty much needs to carry the show on his shoulders if it’s going to have much success. Luckily, he’s up to the job. He’s a little bit of Nathan Fillion in Firefly and a little bit of James Garner in the Rockford files and a little bit of James Arness in Gunsmoke and a whole lot of his very own thang. Bottom line: he’s in no hurry, he’s not scared of much, and he makes it fun to watch.

Let me know what you think.

The Gathering Storm, Book 12 of the successful Wheel of Time series was recently released, which is a neat trick, considering the fact that the author of the series, Robert Jordan, passed on some time ago. Jordan’s widow asked Brandon Sanderson, a successful author in his own right, to complete the series. Sanderson intends that the series will be complete with book 14.

I have mixed feelings about The Wheel of Time series. I have by turns been a big fan and completely frustrated by the ever-expanding, often-rambling nature of the story and cast of characters. I despaired of ever seeing a satisfactory end to it in my lifetime long before Jordan died. Turns out, however, that Sanderson is a steady hand on the tiller and may actually be able to see this bloated ship safely into the harbor. If you haven’t ever read any portion of this series, don’t expect me to summarize it here. for that, the best place to go is one of the many fansites, like this one, or this one  or the wiki page. 

The best things about this book are that it’s entertaining in a way that this series has always been when it was at its best, and it cuts out a lot of the agonizing dross that had come to characterize the series at its worst.  Sanderson has shown himself to be well in control of the characters and plot of the series, which is saying a lot.  The only negatives are that we are now at book 12 and the end is still two (large) books away.  Book 13 is due sometime late in 2010 and book 14 the following year.  My guess is that those projections are optimistic.  Still, if you’re looking for an entertaining, engrossing read and you have some free time on your hands, the world of this series can be a fun place to hang out.

I just got back from viewing New Moon with the world’s leading Twilight experts: my 13 yr old daughter and her friends.  If you go, I recommend going with them.  You’ll need them to explain the dialogue (I know teenagers mumble a bit in real life but the characters in this movie make it an art form).  And the raging debate in the car on the way home is fascinating and instructive (the most burning question: did Bella kiss Jacob or not?!?!?!   My answer: lips touched.  It was a kiss).

Ok, here’s the deal:

The good: Um, the cast is very pretty.  And there’s some clever lines where you might find yourself laughing.  The special effects are good (especially compared with the first movie) but not great–the wolves look a bit fake.  The main actors are, once again, quite believable and do a creditable job in what is (let’s face it) a really difficult task to pull off.

The bad: The plot is generally non-existent or completely un-buyable unless you’re 13 or on drugs (or both).  There are a couple of scenes which are meant to be serious but end up being laugh-out-loud mawkish (look for the flash-forward scene in the second reel where Bella and Edward are running in slow motion together through the forest–what the hell are those outfits?).  I thought the music would be good, but it really wasn’t much of a factor.

The worst part: The pacing. In places, this movie drags like a bum with his last cigarette.

The bottom line:  Despite its flaws, it’s still a relatively inoffensive and mildly entertaining way to spend a couple of hours. If you or your family members are fans of the books, you’re probably going to see this movie regardless of what I say. If not, you’re probably not going to get it, so stay home.

If you know anything about a Judd Apatow movie, you probably know that it is rated R, and that it is rated R for good reason.  These are not movies you take your kids to.  Even if your kids are 35.  You don’t take your mom or your grandmother.  You might be well advised to leave your wife home.  These movies are raunchy to a level that is somewhat unprecedented and even off-putting if you don’t know what you’re getting into.  They are not for everyone and I wouldn’t blame you if you never watched one for that reason alone.  I sometimes wonder about the level of raunchiness:  is it really necessary?  The answer is, it depends on what you think Apatow is trying to achieve.

Allow me to explain.  First of all, the raunchiness is mostly related to language.  There is little actual sex or nudity in these movies, but you might be excused for not realizing that because the characters talk about sex of every sort in the most graphic terms imaginable.  The language is deplorable.  So why would Apatow make movies like that?  What is he trying to accomplish?  I can’t say for certain, but it reminds me of a literature professor I had in college.  On the first day of class he would always drop several f-bombs and other profanities during the course of his lecture.  His lectures were always funny, entertaining, insightful and often profound and meaningful, but they were only laced with profanity on the first day.  After this first day, invariably, several students would drop the class.  The professor would then proceed with the class, knowing that the remaining students were serious enough about the material not to be put off by a few shocking words.  It was like a test you had to pass before being admitted to the rest of the term.  Apatow is like that.  You have to be serious enough about what he is doing to see past the raunchiness on the surface.  If you’re not interested in making that kind of commitment, he’s probably not interested in talking to you.   

But really, why would you want to subject yourself to that?  Well, you would be right to question whether it’s worth it, but from my perspective it is, for two reasons:  (1) these movies are very, very funny, and (2) they are very, very good.  I have to admit that the raunchiness of the language is part of what makes it funny, and there are moments in these movies that are laugh-until-you-cry funny.  But that’s not really the most important thing about Apatow’s movies.  The most important thing about them is that he’s one of the few people in Hollywood making movies that are about real people confronting real-life situations and figuring out how good people are supposed to react to them.  In other words, underneath all the raunchy humor, these are serious movies about good people.  Want examples?

What about a movie where the main character discovers that, despite what everyone in his life, every TV show, movie and advertisement has always said, it really is a very important and wonderful thing to fall in love and get married before having sex.  Any major Hollywood movies made after 1950 sending that message?  Only one: The 40-Year-Old Virgin, which not only sends that message loud and clear, it does it in a way that guys might actually listen to.

What about a boy-meets-girl movie where the girl ends up pregnant?  How can that possibly be a good thing?  Well you might have heard that it’s a problem that actually does occur occasionally in real life and the odd thing is that neither the boy nor the girl in this movie is interested in taking the easy way out.  No, despite the fact that they just met, both opt to pursue a real relationship, complete with a proposal of marriage, real jobs and lots of hard work because (are you ready for this?) it’s the right thing for the baby.  In one of the few totally serious exchanges in Knocked Up, the main characters actually say those words and mean them.  No, really.

How about a movie where one of the main characters confronts the very real and imminent possibility of his own death, then gets a reprieve.  How would a real person deal with that?  Well, you could do worse than Adam Sandler’s character in Funny People.  He reconnects with his profession, his old friends, his family, and tries to make amends with people he has wronged, all while generally acting like a cantankerous fathead.  After a long journey, however, you’ll be surprised at the outcome.  The decisions made before the credits roll by the characters in this movie reflect serious consideration of the long-term consequences of their choices on both themselves and others, including most importantly, children.  These characters are people who have serious flaws and are beset with temptations and desires but who also really, really deep down actually want to do (wait for it) the right thing.

These are difficult concepts for any filmmaker to pull off, but the fact that there’s a filmmaker who is willing to tackle them in a serious way in the context of a raunchy comedy makes Judd Apatow an artist worthy of some respect, as well as possibly one of the better filmmakers working today.