Archive | February, 2012

PCP’s Weekly Dose: 84th Academy Awards II

29 Feb

We continue the second half of our live Oscar commentary here.

Best Visual Effects:

Hugo – Rob Legato, Joss Williams, Ben Grossmann, and Alex Henning

  • Harry Potter and the Deathly Hallows – Part 2 – Tim Burke, David Vickery, Greg Butler, and John Richardson
  • Real Steel – Erik Nash, John Rosengrant, Danny Gordon Taylor, and Swen Gillberg
  • Rise of the Planet of the Apes – Joe Letteri, Dan Lemmon, R. Christopher White, and Daniel Barrett
  • Transformers: Dark of the Moon – Scott Farrar, Scott Benza, Matthew E. Butler, and John Frazier

Best Supporting Actor:

Christopher Plummer – Beginners as Hal Fields

  • Kenneth Branagh – My Week with Marilyn as Laurence Olivier
  • Jonah Hill – Moneyball as Peter Brand
  • Nick Nolte – Warrior as Paddy Conlon
  • Max von Sydow – Extremely Loud and Incredibly Close as The Renter

Best Original Score:

The Artist – Ludovic Bource

  • The Adventures of Tintin – John Williams
  • Hugo – Howard Shore
  • Tinker Tailor Soldier Spy – Alberto Iglesias
  • War Horse – John Williams

Best Original Song:

Man or Muppet” from The Muppets – Bret McKenzie

  • “Real in Rio” from Rio – Sérgio Mendes, Carlinhos Brown, and Siedah Garrett

Best Adapted Screenplay:

The Descendants – Alexander Payne, Nat Faxon, and Jim Rash from The Descendants by Kaui Hart Hemmings

  • Hugo – John Logan from The Invention of Hugo Cabret by Brian Selznick
  • The Ides of March – George Clooney, Grant Heslov, and Beau Willimon from Farragut North by Beau Willimon
  • Moneyball – Screenplay by Steven Zaillian and Aaron Sorkin; Story by Stan Chervin from Moneyball by Michael Lewis
  • Tinker Tailor Soldier Spy – Bridget O’Connor and Peter Straughan from Tinker, Tailor, Soldier, Spy by John le Carré

Best Original Screenplay:

Midnight in Paris – Woody Allen

  • The Artist – Michel Hazanavicius
  • Bridesmaids – Kristen Wiig and Annie Mumolo
  • Margin Call – J.C. Chandor
  • A Separation – Asghar Farhadi

Best Short Film:

The Shore – Terry George and Oorlagh George

  • Pentecost – Peter McDonald and Eimear O’Kane
  • Raju – Max Zähle and Stefan Gieren
  • Time Freak – Andrew Bowler and Gigi Causey
  • Tuba Atlantic – Hallvar Witzø

Best Short Subject Documentary:

Saving Face – Sharmeen Obaid-Chinoy and Daniel Junge

  • The Barber of Birmingham: Foot Soldier of the Civil Rights Movement – Robin Fryday and Gail Dolgin
  • God Is the Bigger Elvis – Rebecca Cammisa and Julie Anderson
  • Incident in New Baghdad – James Spione
  • The Tsunami and the Cherry Blossom – Lucy Walker and Kira Carstensen

Best Animated Short:

The Fantastic Flying Books of Mr. Morris Lessmore – William Joyce and Brandon Oldenburg

  • Dimanche – Patrick Doyon
  • La Luna – Enrico Casarosa
  • A Morning Stroll – Grant Orchard and Sue Goffe
  • Wild Life – Amanda Forbis and Wendy Tilby

Best Director:

Michel Hazanavicius – The Artist

  • Woody Allen – Midnight in Paris
  • Terrence Malick – The Tree of Life
  • Alexander Payne – The Descendants
  • Martin Scorsese – Hugo
Academy Honorary Award:
  • James Earl Jones
  • Dick Smith

PCP’s Weekly Dose: 84th Academy Awards

28 Feb

For better or worse, we decided to do a live commentary on the Oscars on mic in addition to the twitter feed. Hear our thoughts and reactions (again, for better or worse) on the awards below.

Best Costume Design:

The Artist – Mark Bridges

  • Anonymous – Lisy Christl
  • Hugo – Sandy Powell
  • Jane Eyre – Michael O’Connor
  • W.E. – Arianne Phillips

Best Make Up:

The Iron Lady – Mark Coulier and J. Roy Helland

  • Albert Nobbs – Martial Corneville, Lynn Johnson, and Matthew W. Mungle
  • Harry Potter and the Deathly Hallows – Part 2 – Nick Dudman, Amanda Knight, and Lisa Tomblin

Bonus: J.Lopez/C.Diaz Butt Reaction

Best Foreign Language Film:

A Separation (Iran) in Persian – Asghar Farhadi

  • Bullhead (Belgium) in Dutch and French – Michaël R. Roskam
  • Footnote (Israel) in Hebrew – Joseph Cedar
  • In Darkness (Poland) in Polish – Agnieszka Holland
  • Monsieur Lazhar (Canada) in French – Philippe Falardeau

Best Supporting Actress:

Octavia Spencer – The Help as Minny Jackson

  • Bérénice Bejo – The Artist as Peppy Miller
  • Jessica Chastain – The Help as Celia Foote
  • Melissa McCarthy – Bridesmaids as Megan Price
  • Janet McTeer – Albert Nobbs as Hubert Page

Christopher Guest Sketch

Best Film Editing:

The Girl with the Dragon Tattoo – Angus Wall and Kirk Baxter

  • The Artist – Anne-Sophie Bion and Michel Hazanavicius
  • The Descendants – Kevin Tent
  • Hugo – Thelma Schoonmaker
  • Moneyball – Christopher Tellefsen

Best Sound Editing:

Hugo – Philip Stockton and Eugene Gearty

  • Drive – Lon Bender and Victor Ray Ennis
  • The Girl with the Dragon Tattoo – Ren Klyce
  • Transformers: Dark of the Moon – Ethan Van der Ryn and Erik Aadahl
  • War Horse – Richard Hymns and Gary Rydstrom

Best Sound Mixing:

Hugo – Tom Fleischman and John Midgley

  • The Girl with the Dragon Tattoo – David Parker, Michael Semanick, Ren Klyce, and Bo Persson
  • Moneyball – Deb Adair, Ron Bochar, David Giammarco, and Ed Novick
  • Transformers: Dark of the Moon – Greg P. Russell, Gary Summers, Jeffrey J. Haboush, and Peter J. Devlin
  • War Horse – Gary Rydstrom, Andy Nelson, Tom Johnson, and Stuart Wilson

Cirque de Soleil Performance

Best Documentary:

Undefeated – TJ Martin, Dan Lindsay, and Richard Middlemas

  • Hell and Back Again – Danfung Dennis and Mike Lerner
  • If a Tree Falls: A Story of the Earth Liberation Front – Marshall Curry and Sam Cullman
  • Paradise Lost 3: Purgatory – Joe Berlinger and Bruce Sinofsky
  • Pina – Wim Wenders and Gian-Piero Ringel

Best Animated Picture:

Rango – Gore Verbinski

    • A Cat in Paris – Alain Gagnol and Jean-Loup Felicioli
    • Chico and Rita – Fernando Trueba and Javier Mariscal
    • Kung Fu Panda 2 – Jennifer Yuh Nelson
    • Puss in Boots – Chris Miller

Marcus Reviews WZRD by Kid Cudi and Dot da Genius

23 Feb

The Arrival: The album opens up with a very omnious and sparse instrumental featuring a simple guitar riff backed by some spacy synths, some 808s and a cinematic strings as it progresses on. It’s exactly the type of opener you’d expect out of Cudi and does a good job of setting the tone for the album. (No Rating)


High Off Life: Still riding the vibe of the opener, this track opens with an electric guitar and builds into a beat somewhat reminiscent of “We Will Rock You” as Cudi sings (with some slight vocoder-like altering) about being High Off Life. There’s nothing necessarily spectacular about this track but I wouldn’t say that it’s skip worthy either. I could definitely see this being a hit live. (3.5/5)


The Dream Time Machine: On this track Cudi croons over a spacey instrumental about how everything in his life seems like a dream now. If any OG Cudi fans were turned off by the rock vibe of the first track this will bring them right back in as it sounds like something off of the first Man on the Moon album. Very chill track that’s easy to vibe with. (4.5/5)


Love Hard: Switching back into rock mode, Cudi sings “If you love soft, then you’ve already lost/But if you love hard, then let down your guard and follow your heart” over a guitar riff that you could’ve heard in rock songs back in the 80s-90s. Half way though the song though it evolves into a euro-pop dance beat and then closes out the track by blending the two genres. Catchy track with some pretty dope production. I could see this working as a single. (3.5/5)


Live & Learn: Cudi encourages us to live our lives but to always learn from our mistakes over a lighthearted garage rock instrumental that I could definitely hear on an N.E.R.D. album. Towards the end of the the track, just like the song before it, it turns into a dubstep-esque jam to bring it all home. Yet another song that won’t change anyone’s life but catchy and easy to listen to nonetheless. (4/5)


Brake: This track leaked a while ago to mixed reviews from critics and Cudi fans alike (I wasn’t really feeling it myself) but after hearing it again it’s kind of grown on me. For those that haven’t heard it, Cudi and Dot Da Genius get their Psychedelic Rock this one. Cudi slurs melodically over a distorted and trippy psych-rock instrumental (I could definitely hear Sleigh Bells doing a song like this) stating that even if he has no direction he won’t “break”. It’s one of the few songs on the album that you’ll either really like or hate. I for one have grown to like it. (3.5/5)


Teleport 2 Me, Jamie: I’ve been a fan of this one ever since the snippet came out months ago. Over a low-key electro-rock instrumental (sampling “Under Your Spell” by Desire from the Drive Soundtrack) Cudi sings about how he longs for the presence of his girlfriend and how he wishes that she could just teleport to him. Along with The Dream Time Machine, This is the only other track on the album that is reminiscent of Cudi’s previous work on the MotM albums and it’s probably also the most radio ready song on the album (thus the reason why it’s the first single). (4.5/5)


Where Did You Sleep Last Night?: On what’s probably the biggest deviation from Cudi’s normal style, he tells the story of an enigmatic woman that he had a romantic fling with that may or may not have killer her husband and disappeared over a country rock style instrumental. This is definitely bound to be one of the more polarizing tracks on the album. I myself quite like it and respect Cudi for doing something so different. Good music to drive to. (4/5)


Efflictim: With nothing but an acoustic guitar and a piano serving as a backdrop, Cudi asks his girl the famous attention seeking question, “What you would do if you found out that I was dead”, and then revisits the previously touched upon anecdote about how life’s too short to not make things right. There’s nothing really wrong with this song but it’s definitely a filler song. (3/5)


Dr. Pill: Cudi takes his second crack at psychedelia, but this time with a bit of a metal edge, as sings about not feeling like himself and pleads to “Dr. Pill” to make him feel better. In my opinion this is the weakest track on the album in terms of subject matter and production. Not really a fan. (2.5/5)


Upper Room: On the album closer Cudi gets a little philosophical as he sings about his belief in God (thus the “Upper Room”) having a destiny for all of us but most people are too pussy to pursue their own backed by a fitting instrumental complete with flighty synths and strings. Like Cudi’s previous albums even though they’re some darkness throughout, we end on a high note with a little hope in our hearts. Solid track that I’m sure will inspire some people to get out there and pursue their dreams. (4/5)


Closing Thoughts:

Going into this album alot of Kid Cudi fans had some heavy doubts and worried that this album would turn out to be yet another rapper’s failed attempt at doing another genre. While my doubts weren’t as strong as others might’ve been they were still there nonetheless, but after listening to the album a couple of times through I can honestly say that it turned out to be alot better than I thought it would be. Unlike fellow rapper turned “rocker”, Lil Wayne, Cudi actually seems like he has a genuine appreciation for the genre and took some time to study it’s various styles. With that being said this is far from a GREAT album. Where this album truly suffers to me is in the songwriting. Most of the lyrics are very amateur and weak and if it weren’t for Cudi’s penchant for melody they would’ve mostly likely completely fallen flat. What this album lacks in subject matter though it more than makes up for in production. You can tell that Dot Da Genius and Cudi took their time out to make sure this album sounded they way they wanted it to and it really shows because they sound like a well oiled machine. It’s the musical backing that really makes Cudi’s vocals work on the album. While this will most likely never end up on anyone’s “Top 100 Best Rock Albums of All Time” list, it’s a pretty well made album and could serve as a solid entry into the rock genre if Cudi decided to go full time with it. If anything Cudi deserves some respect for actually taking time out and making this ambitious project work. Kudos to you Mr. Mescudi, kudos to you.

Lyrics: 2.75/5

Production: 4.5/5

Overall: 3.5/5

PCP Episode 065: Seth MacFarlane

23 Feb

This time thought it’d be a good idea to examine a man of many voices (maybe 3-4): Seth MacFarlane. Feelings of the man have been mixed amongst the public and it’s no different in the crew. While we all at one point were big fans of him, some of us have had a falling out with him and the rest just aren’t in as much love as before. Still, this is a man of many talents and worthy of discussing as we go over his early career, Animation Domination and what we have to look forward to from him in the future. What are your thought? Are Family Guy, American Dad and The Cleveland Show worth watching?

PCP’s Weekly Dose: Grammys

21 Feb

We’re back this week in our usual rambling format for your listening pleasure. We wanted to keep things loose to keep things off the top of the head, but that didn’t work out too well as we eventually focused on the Adele Grammy Awards including the butt-hurt over Best New Artist,  who that random Paul McCartney guy is and that there Chris Brown kid. We round out the discussion with much more, but the principle amount of this episode revolves around the musical showcase. Be sure to check back in soon for 065: Seth MacFarlane

PCP Episode 064 II: Star Wars Prequels

16 Feb

We said we’d return to dish on the house that George Lucas built [and felled] and we are. If you missed the first installment, we talked about our love for the original trilogy. This time, it’s the prequels that we run down with love, hate and utter scrutiny. It’s the jokes you’ve come to expect when discussing these movies and we make sure to deliver. Of course, this includes Marcus’s favorite moment in all of the Star Wars historical canon. Not only that, we speak of what we want from the franchise in the future. Once again, we ask you to tell us your favorite moments from these movies. Also, what do you want from Star Wars in the time to come.

PCP Episode 064: Star Wars

15 Feb

With the Phantom Menace having just re-hit theaters we thought this the best time to finally do an episode on a cornerstone in nerd culture: Star Wars. This is  an episode so big that we have to release it in parts (and not because we need stuff to post like last time). It’s just that big. You know the movies. You know movies that are about the movies. Star Wars is the subject for at one point or another for every podcast of all time (we checked). We split this into the original trilogy first and then the prequels so check it out, and share with us your favorite Star Wars stories.

PCP’s Weekly Dose: Avengers vs. X-Men

13 Feb

We keep things pretty loose this time around as we try to do a recent comic book recap focusing on Marvel’s biggest event: Avengers vs. X-Men. But we also talk about how lawsuit-happy the industry has been and talk about a few movie trailers that have caught our eyes including Amazing Spider-Man and The Bourne Legacy.

PCP’s Weekly Dose: Before Watchmen

11 Feb

Undoubtedly, the comic book nerds among you know of DC’s plans to release a prequel to one of the most influential books in all of graphic novels: Watchmen. The boys have gathered around to discuss the project, its purpose/potential and the “controversy” behind adapting the work of another.

Josiah’s January PCP Refill

10 Feb

A refill (recap LOL) for the month of January:

Mission Impossible: Ghost Protocol
Weekly Dose: Back!
New 52 Static Shock videos Part 1-4
Shegaw Reviews ‘Red Tails’
Weekly Dose: Ramble Part 1-4
Episode 061: 2012 Avery awards
Marcus Reviews ‘Haywire’
Marcus Reviews ‘Red Tails’
Weekly Dose: Oscar Nominations