ART S The Michigan Daily - Tuesday, February 11, 2003 - 7 HEAVEN CENT Is 50 CENT BULLET-PROOF ON DEBUT? DVD highlights success of'Ighy Goes Down' By Adam Rottenberg lican whom Igby fondly refers to as a fascist. His times feeling more like a drama. The commentary Daily Arts Writer father (Bill Pullman, "Chill Factor") is in a sani- track provided on the DVD supplies insights into tarium so Igby's godfather D.H. (Jeff Goldblum, both the director and main actors' views on the "Igby Goes Down" is the portrait of a disgrun- "Vibes") acts as a surrogate, constantly giving story and making of the film. The disc features tied youth who embarks on his own to learn about Igby money and fatherly advice. deleted scenes that do not really offer much, and himself and come to grips with his life. The opening scene features Igby and Oliver suf- demonstrate why they were deleted. Though it is Writer/director Burr Steers has created a film focating their mother to death. After the initial interesting to hear the director's reasoning behind 50 CENT GET RICH OR DIE TRYIN, SHADY RECORDS By Joseph Litman Daily Arts Writer No artist without a major-label release was talked about more than 50 Cent in 2002. His independent albums and mixtape appearances enthroned him as king of the hip- hop underground, his lyricism dis- tinguished him from many of his peers and his incessant attacks on Ja Rule won him many fans. 50 also made news last year by signing with Shady Records, uniting him with Eminem and forging a scary lyrical tag team. Em's decision, were it ever doubted, now seems wise given 50's solid major label debut, Get Rich or Die Tryin '. The album's virtues, which are both abundant and worthy of expla- nation, must first take a backseat to this caveat though: Longtime 50 fans will find Tryin' disappointing. The tight and unrelenting flow that 50 made his signature while destroying mixtapes in New York is too infrequently found here. While there are verses that fans will learn with a "this-is-vintage-50" satisfac- tion, like the first rhyme in "Back Down," there are also many loosely- constructed flows that seem either a product of lacking imagination, deficient beats or desire for airplay. 50, born Curtis Jackson, is mostly on his game, but it's not hard to hear when he's not. Luckily, there is still much to like about this record. For starters, the verses with which Jackson comes correct are impressive and 50 com- poses rhymes that are witty, 1 l r 5 about a young man who is confused by the life he leads. This modern day "Catcher in the Rye" succeeds on its IGBsu( own merit and tells an unusual story DGBY in a darkly comedic way.D WN "Igby" is successful because of Picture/Sound the strength of its ensemble cast, Movie: ***- specifically Kieran Culkin as the title character. The young actor, best Features: **I known for being Macaulay Culkin's MG younger brother, truly thrives as a dejected youth looking for direction. Susan Saran- don ("Twilight") plays Igby's overprotective and misunderstanding mother easily swayed by her other son, Oliver (Ryan Phillippe, "Deadly Inva- sion: The Killer Bee Nightmare"), a young Repub- C : shock of the scene, the rest of the movie is a flashback, leading up to the murder of Mimi. GOES The story takes off when Igby runs DVD away en route to a military school : **** after being thrown out of numerous * prep schools. His mother wants him to have a proper upbringing and be *1 exactly like his brother. Igby moves M in with his godfather's mistress (Amanda Peet, "Body Shots") while hiding from his old life. His journey later leads him to fall in love with a college student named Sooki (Claire Danes, "Brokedown Palace"). "Igby Goes Down" examines life from a differ- ent perspective than most dark comedies, some- removing them from the film. A 15-minute documentary on the making of the film rounds out the special features (which also includes the theatrical trailer) and once again acts as just a basic production documentary of the movie. MGM's DVD release of this independent feature contains most of the regulars associated with the big budget releases, which can probably be attrib- uted to the high profile ensemble cast and critical acclaim. Culkin's performance steals the movie, and he deservedly received a Golden Globe nomi- nation for his efforts this year. While not revolu- tionary, "Igby' is original. In a sea of copycats and uninspired films, a truly unique and creative film like "Igby Goes Down" deserves to be seen. involved and captivating. This style is perhaps best heard on the album's last two songs, "U Not Like Me" and "Life's on the Line." Tryin' also benefits from its pro- duction on the whole. Dr. Dre and Eminem served as the executive pro- ducers for this album and their influ- ence is noticeable; many of the tracks significantly relying on the keyboard sounds that have become staples of the Shady/Aftermath style. On songs like "What Up Gangsta" and "Patiently Waiting," 50 spits over beats that are menacing and contain a dramatic element often found on Eminem records. Meanwhile, the Dre-produced "In Da Club" is a certi- fied club banger, and "Back Down," with its sparse drum rhythm and sim- ple tones, provides the perfect arena for Jackson's unilateral battle with Murder Inc.'s finest thug-singer. There are, however, beats that fail spectacularly and the songs bearing them provide the 18-track record with its only skip-worthy material. Over- all, 50's album, while not equal to the - hype that preceded it, is a fine entrance into the mainstream for a talented artist. RATING: *** ' ERASURE OTHER PEOPLE'S SONGS MUTE By Graham Kelly Daily Arts Writer How do you make a really, really, extremely bad album? Take a hand- ful of songs that aren't any good, remix them in a way that doesn't increase their appeal in the slightest and then add a few songs that origi- nally were good, but that you've completely screwed up. Other People 's Songs is a collec- tion of covers tainted by Erasure's own electronic flair as an added kick to the groin. Instead of listing the highlights, in typical CD review fashion, I'll detail the low points so that, in case you ever want to hear what really, really, extremely bad music sounds like, you'll know what tracks to skip to. First, "Everyday" made me want to vomit. It screams out, "Hey, I'm crappy '80s bubble-gum pop!" "Walking in the Rain" features guest female vocals which, as is par with the rest of the album, grind like fin- gernails on a chalkboard. "True Love Ways" presents Andy Bell's worst falsetto. I'll stop there before I list every track. Songs have been successfully redone (especially Bush songs, for some reason. See "Mouth" from Deconstructed and "Letting the Cables Sleep" from Cafd Del Mar, Vol. 7). But that only works when: a) the songs are decent to begin with, and b) the beats, synth and ambient sounds added are engaging. One shouldn't feel like he's listening to the soundtrack of some cheap amusement park ride about the not- so-distant future. But maybe I'm-just angry that Erasure slaughtered the song "Sols- bury Hill." RATING: * THE ALL-AMERICAN THE ALL-AMERICAN REJECTS REJECTS DREAMWORKS RECORDS By Sean Dailey Daily Arts Writer Hey guys? Yeah, the Juliana Theory called. They want their shtick back. Thanks. The All-American Rejects are every- thing the writers of Seventeen Maga- zine would have you believe about emo: four good looking guys from an obscure part of the country playing "emotionally charged" music that only the most senti- mental of teenage girls and unstable ex- punk rockers could appreciate. Every song off the band's self-titled debut, originally released independently on Doghouse Records, follows essen- tially the same pattern. First, start off slow so you catch the listener off-guard when the drums come in and the song really starts to rock. Now, after the sec- ond chorus or so, slow it down to a sappy break with a gut-wrenching piano solo that elicits the tears of every poser in the house. Finally, build to that unex- pected crescendo that leaves them panti- ng. You thought the song was done at the break, didn't you? Gotcha! The All-American Rejects present nothing new or innovative here. At the very least, their songs are catchy. 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