video review : Carrie

video review : Carrie

Naked high school girls showering after a sweaty game of volleyball grabs your attention in the first few minutes. “Creepy” Carrie is far from the sexiest among them, but she is cute in an unobtrusive way. The fact that she’s constantly mistreated by almost everyone around her, including her manic Mama, makes you root for her. It’s when she’s invited to the prom by Tommy Ross, one of the cutest coolest boys in the school, which she relunctantly accepts, that things start to go really bad for her.

It’s a sad story but never to the point of maudlinism, even when Carrie’s sadness forces her to tears. That’s because she possesses a power that more than makes up for her social inadequacies. She can move and physically affect things with her mind; she can close windows and break mirrors; if she concentrates hard enough. It’s what known as telekinesis, a phenomenon she herself doesn’t fully understand. All she knows is that it tends to happen, rather inadvertently, when people make her mad.

The final fifteen minutes or so before the ending credits, especially the view-violating epilogue that makes up the final three minutes, are unnecessary. From both a narrative and an artistic point of view, the movie should end just after the prom, which is the obvious climax in the world of a high school student who cares about nothing more than fitting in with the popular crowd. With that said, the ending excess isn’t enough to ruin what remains an endearing story about a very special girl.

my rating : 4 of 5

1976

audio review : Dance Into The Light ( album ) … Phil Collins

audio review : Dance Into The Light ( album ) ... Phil Collins

“No drum machine on this one”, Phil Collins announces in the liner notes as if that’s something to be excited about. For those who scoffed at the thought of an acclaimed drummer using computer drums in his music, it may be, but I generally prefer drum machines over live drums if only because they don’t succumb to human imperfection.

Percussion is a side note here though. The most obvious change is the sound of the songs themselves. Upbeat world music sways rhythmically in bright contrast to the dark melodic tones of the previous album, Both Sides, which is arguably his best solo set thus far. This new one isn’t quite as good. There are, however, plenty of good songs on it.

There’s a delightful fan dedication entitled Wear My Hat, which, thanks to its Mbaqanga-inspired polyrhythms, will be compared to Paul Simon’s Graceland. It’s In Your Eyes captures the sweet sound of 1960s romance while a remake of Bob Dylan’s Times Are A-Changin shows that both remakes and bagpipes can work well if done right.

my rating : 4 of 5

1996

audio review : We Can’t Dance ( album ) … Genesis

audio review : We Can't Dance ( album ) ... Genesis

It’s quite alright that Phil Collins and his unsung band members Can’t Dance. They make music and they do it well. They also do it without relying on the comforts of traditional romance, which can’t be said for most artists of the pop-rock genre. There is one such song on this set; a tranquil ballad entitled Hold On My Heart; and there are hints of allure splattered about, but the compassion of Genesis goes deeper than that.

No Son Of Mine is about a broken father/son relationship. Dreaming While You Sleep deals with the psychological woes of hit-and-run accidents. Way Of The World anthems global peace. By the time you reach the beauty of Fading Lights, you realize you’ve been on an epic journey. If there’s an epic flaw, it’s that the melodies of Phil’s verses often outshine his choruses when it should be the other way around.

my rating : 4 of 5

1991