I was hoping 'The Eye' was going to be fresh filmmaking and would bring something new to the overly cliche Horror/Mystery genre. This film has been recommended to me several times by others, and the reviews it's been getting by critics have been over the top. I was left unfulfilled and severely disappointed by the time the end credits rolled on screen. In fact, the film hardly leaves me any desire to see the newly rewritten Hollywood version next year.

There are a lot of problems with 'The Eye'. The pacing seems oddly clunkish at times. I was hoping the story would take off within the first 30 minutes, but it never actually does. See, I'm not going to rag on the small problems, like having to believe that the main character can see AND hear dead people after her corneal transplant, because there is so much more. Few of the moments that are SUPPOSED to be scary are not because none of the moments prior to the scare get built up enough. Then the audience has to put up with a very sappy (romance?) between the main character and her doctor. Outside the hospital sequences, the script never really found anything interesting for the doctor to do.

What I did like about 'The Eye' was the main character's connection with the corneal donor. That and the cinematography was decent. But besides all that, the editing was rather poor and the musical score wasn't really suited for a horror film.

>> 2 stars. Like a dry cupcake, the movie just crumbles.

-the enlightened one

The Matrix Reloaded is a tough one to review. I am compelled to give this movie a high rating just for the stunning visual effects. However, the film just did NOT have the wit and the charm of its predecessor. None of the key moments in the film were built upon enough and seemed rather undramatic. The loose storyboard and messy editing made the pacing of the film jerky. I don't think I have to explain which parts could've used better editing. If you see the film you'll find out for yourself. It also hurt that Reloaded was the first half of a two-part film. I think audiences would have enjoyed it better if it had a stand-alone plot.

Reloaded begins with a hook introduction similar to Matrix (another Trinity fight) but then loses most of its energy soon after. You could heavily blame this on the lengthy dialogue sequences. Something I frowned upon concerning Reloaded was that the first movie had already established the philosophical issues of the matrix, so why drag it out even further? I think the purpose of the sequel should have been to push the story of the Matrix. Only until halfway into the movie does it really begin to start cooking. For those of you who have seen Reloaded already, the jumping-off point would roughly begin where Neo is sent to find the Keymaker by the Oracle.

Quite honestly, after viewing Matrix 2, I'm going to have to say that no one, for AT LEAST the next five years, will be able to even come close to matching Reloaded's CGI sequences, other than the Wachowski brothers themselves for the third Matrix. Neo vs. 100 Agent Smiths and the car chasing scene in particular are the most dazzling moments of the movie. In the chase scene, the Wachowski brothers were even able to get the camera to dodge under the speeding cars! The cars themselves are computer animation but that in itself gets two "wows" and a half.

The Wachowski brothers know what their audience wants, and so naturally we get the pleasure of being introduced to a dozen more characters in the Matrix. The most notable ones are Link, the new operator of the Nebuchadnezzar, Morpheus's former love Niobe, those freaky guys dressed in all white known as the Twins, the Merovingian with the French accent and his wife Persephone, the Keymaker, and the Architect. The problem with these kinds of epic-storytelling films, however, is that you get to a point where there are TOO MANY new characters and none of them really get developed enough. It was exactly the same case with Star Wars Episode I. For example, the Twins fell into the same trap that Darth Maul did, becoming more of just mere spectacles than contributing something important to the plot. I personally think Persephone is the only new character worth paying attention to in Reloaded. She is sleek, mysterious, unpredictable, and playful. Persephone is mostly important because she reinforces the theme of rebellion and free-thinking in the Matrix films. Too bad her role is a small one in this film. Hopefully the Wachowski brothers decide to play her role out more in Matrix Revolutions.

I guess my two biggest complaints on Reloaded are a) Morpheus breaking character with his (motivating?) speech at Zion and b) the bland music score. The first one is upsetting because it seems that for one scene, the usually calm and cool Morpheus trades his sophistication for more barbarian-like qualities. Not only that, he screeches when he yells and that makes it too distracting to hear what he has to say. The second one is also just as upsetting because the first movie was SO GOOD at using music to fill in for the gaps in dialogue. Reloaded's score is repetitive and downright annoying. I think Juno Reactor is an amazing group, but the quality of their music hasn't been its sharpest for the past few years. They just did not work for this film. Where was Lunatic Calm, or the Prodigy, or Meat Beat Manifesto, or the Propellerheads? I mean cummon, the biggest rush I got was when 'Spybreak!' was played in the background of Matrix's biggest fight scene. It doesn't really seem like the Wachowski brothers even tried to get that same reaction for any parts of Reloaded.

Well, even if you thought the movie ... or it didn't live up to expectations, Matrix 2 was still very fun to watch. And who knows, maybe you will like it better after seeing Matrix Revolutions. There's probably a reason why everything is sort of left hanging. Reloaded fails in the respect that it was going to provide anything dramatically new. It's true that the Wachowski brothers and their special effects crew have raised the bar just high enough to reclaim their crown for best CGI, but rather than use these special effects to support the story like in the original Matrix, they're shamefully used as just a way to bring audiences in and sell tickets.

>>> 3 stars. A movie worth watching, but lacks the potential that we all saw in the last movie. However, most diehard Matrix fans will be satisfied with the grossly exaggerated fight sequences. Reloaded could've used better editing, everything in the movie seemed too "episodic". For example, immediately after Neo speaks with the Oracle, Agent Smith shows up. Everything just seemed way too staged. What was so great about the first movie was how the story had such a logical flow. As the French guy says, everything is governed by cause and effect. So why does Reloaded seem to break this rule?

-the enlightened one

Let's face it, we're currently in an age when pop music is progressively getting worse and new ideas are fast running out...

Ever since the Rob Dougan track 'Clubbed to Death (Kurayamino Variation)' was featured on the original Matrix soundtrack, I've been waiting for the day when I could hear more of his work. Plain and simple, it's been worth it. Dougan spent eight years, maybe even more, working on this album. On 'Furious Angels', Rob Dougan is the composer, the solo vocalist, and the entire orchestra all in one. This man is INCREDIBLY talented. I can't believe the instrumental string parts were all entirely written by him. And at the same time his obvious influence from Electronic music allows him to be modern-sounding enough to capture the attention of today's audience. One thing I really enjoy about his music is that he doesn't allow the percussion to become repetitive or to distract the listener from the actual music.

The best thing about Dougan's music is probably his voice. Some reviewers have commented that his vocals don't fit the instrumentals, but I strongly disagree. I think his voice is what makes his songs so strong, dark, and emotional. Perhaps there is no better example than on 'Left Me for Dead', a song that seems to be about a hit-and-run accident. Dougan beautifully captures the pain and anguish that such a situation could cause. On 'There's Only Me', he howls out in vain on a song that could be themed around loneliness and isolation.

Another reviewer didn't like how track 13 is silent, and claims it's a copy of John Cage's famous 4'33". I don't consider this CD to be a copy of anything, really. If you look at the structure of the album as a whole, it's almost as if Dougan is inviting you in on a private concert. There's the Prelude at the very beginning, the actual meat of the performance in the middle, the silence towards the end where the applause would take place, the Coda to wrap up the show, and then the encore track 'Clubbed to Death 2' to win the audience over.

Best track on the album is easily 'Clubbed To Death (Kurayamino Variation)', the record that broke Rob Dougan into the public's consciousness. I don't even have to explain why this song is so good. It's an awesome attempt at taking two styles of music that you would NEVER expect to work together (the strings of Classical and the beats of Hip Hop), and putting them together well enough to create something totally fresh. The result is nothing short of a masterpiece. I also enjoy the title track 'Furious Angels', 'Nothing At All', and 'Speed Me Towards Death' very much. All in all, every song on the CD doesn't disappoint. The album is very well balanced and each track beautifully flows into the next.

>>> A perfect 5 stars. An epic masterpiece. This album is flawless. Gorgeous art direction and album design as well.

* BEST ELECTRONIC ALBUM OF 2003. Yes, I know the year isn't over yet but I dare you to find me a replacement.

- the enlightened one

If you enjoyed 'Furious Angels', I would strongly suggest such albums as Robert Miles' 'Dreamland' and Chicane's 'Behind the Sun'. They both seem to capture the same artful taste as heard in Rob Dougan's music.

This is the future of electronic music as we know it. Where once there were just two talented men, Andy Cato and Tom Findlay, a computer, and some fancy recording equipment, has now evolved into a much larger and monumental sound. Groove Armada has grown up into a project that involves an "orchestra" of songwriters, sound technicians, engineers, vocalists, and rappers. Take for example the opening track, 'Purple Haze', which took nine (count 'em NINE!) people to write. Some fans might criticize the album because it lacks the intimate sound of the previous two albums, but not me. On 'Lovebox', the boys find more interesting samples and model their new sound around crossbreeding the Classic Rock 70's with modern Hip-Hop: a much dirtier-sounding bassline, some guitar riffs, distorted vocals, and brass horns occasionally thrown in.

One thing you cannot deny about this album is that it is diversified. On one hand we have songs with a Rap-Rock edge, i.e. 'Purple Haze', 'Groove is On', and 'Madder'; Pop and R&B ballads via 'Remember', 'Think Twice', 'Hands of Time', 'Tuning In'; House and even DISCO on 'Final Shakedown', 'Easy', and 'Lovebox'; and finally a reggae-influenced last track 'But I Feel Good'. The CD as a whole fits together extremely very well. The tracks have good flow, going from medium-tempo to laid-back and back again, but never to the point where it feels like the album is crawling. Unlike the last two CDs 'Vertigo' and 'Goodbye Country (Hello Nightclub)', the last half of 'Lovebox' doesn't feel like diving in syrup. 'But I Feel Good' is one of the best songs and ends the album with a bang.

The only complaint I have with 'Lovebox' is that it sounds a little too over-produced and commercial. Most of the songs no longer even have an electronic vibe to them. But luckily, even with all the people involved with the production of the album, Groove Armada still have not lost their creative edge. I think every song on 'Lovebox' is absolutely incredible. The only one I might disapprove of is the cheesy-sounding 'Easy' featuring Sunshine Anderson. Too disco, if you ask me.

>>> 4.5 stars rounded up to 5. Best song in my opinion is the sweet and melancholic 'Remember'. I don't believe the Groove Armada were able to outdo themselves on 'Lovebox' when compared to the eternal classic 'Goodbye Country (Hello Nightclub)', but it's still very good nonetheless. If you loved the last album 'Goodbye Country (Hello Nightclub)' you should have no problem enjoying 'Lovebox'.

* ONE OF THE TEN BEST ELECTRONIC ALBUMS OF 2003. Yes, I know, the year isn't over yet, but I am very confident 'Lovebox' would rank.

- the enlightened one

Ming-Liang Tsai's 'The River' is the story of Xiao-Kang, his father, and his mother. Although the three share the same tiny apartment, they do not actually "live" together, in the sense that there seems to be no relationship at all between them.

The father has a completely ordinary life during the day (however we never actually learn what he does for a living), and leads a secret life at night roaming Taipei's gay bathhouses. As a B-plot, dad is on a mission to stop his bedroom ceiling from leaking water from the apartment above him.

Xiao-Kang's mother works as an elevator operator. There's hardly a moment where you see her conversing or interacting with her husband, which might explain why she has undertaken an affair with a pornographer. The fact that her husband is secretly gay only serves to reinforce the viewer's belief that she is unsatisfied at home.

Then there's the main character, Xiao-Kang, a young man who seems very detached from his mother, father, and everybody else in general. At the start of the movie, he becomes reacquainted with an actress friend of his. She brings him to the set of her next movie, where the director spends half her day trying to film a dead corpse floating down the Tansui River. After many unsuccessful attempts, the director decides that the dummy being used as the dead corpse just does not look genuine enough to work in her film.

The river is the symbolic focal point of the movie. Years of pollution has turned it into a stagnating cesspool. As the movie trailer says, the river represents life. Roughly, it says this: You can either stagnate, or begin again anew... you can either float to the top, or sink straight to the bottom. This is a very inciteful and poetic philosophy behind the idea of the film. The only problem is that the movie does not make a strong enough attempt to illustrate upon this concept.

So the next thing we know, Xiao-Kang is quietly eating lunch on the set of the movie. The director sits next to him and sees her opportunity. She tries to coerce him to act as a replacement for the dummy. At first Kang is unwilling, saying that the river is filthy, but easily gives in after two or three more tries from the director.

The plot begins to unfold during the next couple days after Kang's role in the river. He begins feeling excruciating neck and upper back pains. The pain is unexplainable, and even a trip to the local acupuncturist has no effect. So Xiao-Kang and his father decide to find treatment outside the city. Their journey takes them to a religious temple, where hopefully a Master Liu can pray the young man's inner demons out. Since Master Liu takes days to come up with a diagnosis, father and son spend the next few days away from home.

It's at this point that the movie starts to lose itself. Towards the end of the movie, Kang takes a trip out to the local sauna, probably just to unwind and take his mind off his neck pains. We see him entering a room with a man inside. Lo and behold, the writers decide to make our main character gay. This comes very unexpectedly, not just because of the fact that earlier in the film we see Kang having a shag-session with his actress friend, but also because the film gives no indication (up to this point) of his homosexuality. Little do we know that the man is Kang's own father.

Now, keep in mind, I am NOT giving this film 1 star because there are gay characters and a sex scene. I give it 1 star because of the twist ending. The reactions from both actors when they initially realize the incident seems completely ungenuine. Kang doesn't seem shocked or traumatized in the least bit. At the point where the audience's attention is hooked, the movie decides to end five minutes later. No problems are solved, no lessons are learned, nothing nothing nothing!

Although the film has its cinematographic moments, it gets offset by the long-winded scenes that are in dire need of proper editing. We'll see scenes where the Kang is walking for minutes with no dialogue and no background music. In another scene we'll see the father lying in bed, no dialogue no music, for what seems to be eternity! The pacing of this film is horribly beyond sluggish. It becomes aggravating up to the point where I have to fast forward the last half of the film.

There are many instances where you have to turn up the brightness on your TV because the lighting is so poor. It could be because of the DVD transfer, but somehow I doubt it. Combine the pitch dark with scenes that last over five minutes, and you've certainly got yourself a disaster.

Well, to sum up, I think what 'The River' tries to show is a family that is initially separated, but like all others, begins to become more of a unit when a strong enough situation presents itself... in this case Kang's neck pains. The theme behind the film is most likely loneliness. We never see Xiao-Kang with any friends other than the actress in the beginning, and his father is equally as reclusive. The actress must not be an important part of the story because she becomes disposed of after the first 20 minutes. The mother finds companionship only with a man who represents lust. How deep could that relationship possibly be? I suppose 'The River' also tries to give its characters sympathy by depicting the near-poverty conditions of the city. All in all, I think the attempts are all very weak and unconvincing.

>>> 1 star. Many of the cinematic techniques that were intended to give this film some creative edge failed. Characters were unemotional and lacked depth. This film just feels "dead" like the plastic dummy in the river. I would pass on this one.

- the enlightened one

At last the Indiana Jones trilogy arrives on DVD! Indy fans have been waiting for this moment for a long long time. The anticipation for this DVD release is unmatched except by perhaps 'Star Wars'. Rest assured that this complete 4-DVD set will feature all three films digitally re-mastered with crystal clear sound and picture. The fourth disc will contain a boatload of extras ... In addition, the DVD set comes in a unique box design... a keeper for any serious collector.
What makes Indiana Jones such a unique legacy is that he is an original character. He was dreamed up by several different men and women, including 'Star Wars' creator George Lucas (Lucas is the only writer credited for all three films). Indiana Jones has become an iconic figure in film. Who else do you know sports a felt hat and carries around a bullwhip? Just recently Indy was honored into the American Film Institute's (AFI) '100 Years... 100 Heroes & Villains' list at #2, ahead of other famous film heroes as James Bond, Rocky, and Han Solo. He exhibits all the qualities of a hero: courage, intelligence, strength... but at the same time he also has weaknesses, like his dreadful fear of snakes. Harrison Ford immortalizes his character as the most human of all screen heroes.

If I were asked to choose the best movie amongst the three, I wouldn't be able to provide an answer. I love them all and I think each of them are equally brilliant and entertaining. The Indiana Jones trilogy still remains some of my favorite movies of all time. Good adventure stories are certainly lacking these days. If I were to choose a favorite movie, however, I'd pick 'Temple of Doom' because it is the most frightening, surreal, action-packed, humorous, and happy all in one. You feel really good at the end when Indy brings all the enslaved Indian kids back to their home village, and you certainly feel petrified during the moment when the fanatic head of the cult pulls out a man's beating heart.

If you haven't seen all three movies, don't even bother wasting your money for a rental. You should just buy this DVD set and enjoy 'Raiders of the Lost Ark', 'Temple of Doom', and 'Last Crusade' over and over and over again. And then maybe again after that.

>>> 5 stars. Movies like these are made very rarely.

- the enlightened one

I'll try and keep this review short because I don't have much to say about this movie. 'House of 1000 Corpses' was by far the worst piece of garbage I have ever seen in my life. The plot was pure nonsense even for the horror genre and the acting amongst the entire cast lacked any convincing. Everything about this movie seemed cliche and done-before, including the costumes, the makeup, the scenery, and the childish jokes thrown in every now and then. What a shame that this project was hyped to become one of the most ground-breaking films of its genre. If you want to see horror films with some class, I recommend 'The Exorcist', George Romero's 'Night of the Living Dead', Bram Stoker's 'Dracula', the original black & white version of 'House on Haunted Hill', or Hitchcock's 'Psycho'.

>>> 0 stars. A rundown of how I rated this movie:
Acting: D
Plot: F
Cinematography: F
Set Design: C
Originality: F
Repeat Playability: F

- the enlightened one

I'll try and keep this review short because I don't have much to say about this movie. 'House of 1000 Corpses' was by far the worst piece of garbage I have ever seen in my life. The plot was pure nonsense even for the horror genre and the acting amongst the entire cast lacked any convincing. Everything about this movie seemed cliche and done-before, including the costumes, the makeup, the scenery, and the childish jokes thrown in every now and then. What a shame that this project was hyped to become one of the most ground-breaking films of its genre. If you want to see more well thought-out horror films I recommend 'The Exorcist', George Romero's 'Night of the Living Dead', Bram Stoker's 'Dracula', the original black & white version of 'House on Haunted Hill', or Hitchcock's 'Psycho'.

>>> 0 stars. A sad waste of expensive film stock.

- the enlightened one

I've been enjoying this album for quite a while, so I figured I should put in my two cents...

So at last, we have another duo to compete against the awesomely wicked Everything but the Girl, also known as Ben Watt and Tracey Thorn. The latest to enter the ring of chilled-laid-back-grooves-with-lustful-female-vocals is Andy Cato (of the equally awesome Groove Armada) and Rachel Foster.

The album as a whole seems to work very well together. It's put together in the same format that Groove Armada uses: a medium-paced intro into a slower-than-honey-dripping-down-a-wall second or third track, then to a faster-paced tune, and then back and forth for the rest of the CD. But what an intro! This is a stronger first song than Everything but the Girl's last few albums and two of Groove Armada's... Well cummon, Groove Armada's 'Goodbye Country (Hello Nightclub)' had 'Suntoucher' as its intro. Just try and beat THAT.

'Best Days of our Lives' is a soft and sweet track to put in between 'I'll Be There' and '21st Century'. '21st Century' is really an oddity to the rest of the music on this CD. Andy Cato seems to have sampled a rough drum pattern from an all too familiar record called 'Dooms Night' by Azzido da Bass. Truth is, this doesn't sound good at all!! I also can't respect a song whose lyrics go 'Dooh dooh dooh doody doodoo dooda dumm' for a good portion of the melody. Kylie Minogue rip off? I think not. It's much worse.

The middle of the CD is where the real meat comes in. My two favorite tracks are the title track 'Pursuit of Happiness' and of course 'Subway'. These two songs in themselves are good enough for the small price tag. From tracks 9 to 13, however, you might as well just turn off your CD player. Either that or just leave 'em on to put yourself to sleep to. They're all rather dull-sounding.

The bonus track 'I'll Be There (Soul Mekanik Remix)' is the worst song of the whole album. In fact, it sounds like the Soul Mekanik cut a lot of the soul out of Rachel Foster's vocals. It also doesn't help that it clocks in at 7 and a half minutes. Instead of the Static Revenger Edit of 'Into the Sun', why in the world did the Weekend Players not choose to include the Riva remix?? That is an A+ remix if I ever heard one... The Static Revenger Edit is only mediocre.

>>> 3.5 stars rounded up to 4. The artwork and design is something to envy, and so is Rachel Foster's voice. I've been able to figure out why Andy Cato only functions as one-half of the Groove Armada. Still, it's a rather enjoyable CD, especially for early mornings and lazy weekend afternoons.

-the enlightened one

With his 'Athens' mix, New York legendary DJ Danny Tenaglia quite possibly gives the most cohesive set of tracks in the entire Global Underground series, with John Digweed's 'Los Angeles' mix following close behind. Danny spins us some deep, dark, shallow, and minimal-sounding records, inviting us on a journey through the subterranean.

This mix, released in 1998, was a precursor to the flood of Dark Progressive House and Deep Trance tracks that would quickly surface afterwards. John Digweed seems to have been heavily influenced by Danny, releasing his "groundbreaking" (but not so groundbreaking) Global Underground 'Hong Kong' mix a year later, mimicing the same deep and dark vibe found on this CD.

Standout tracks include Scumfrog's mesmerizing 'Watersong', Miss Kittins' neurotic 'Frank Sinatra', and Tilt's ever-fascinating 'Seduction of Orpheus'. As a whole, there are few mix CDs out that are so fluid. It's almost as if Danny is weaving a story through the music he plays. Any serious listener knows that the order of the songs played AS WELL AS the track selection are what make a DJ mix great. This is what separates the amateur from the professional.

This CD is not for everyone and it's not for every occasion. Some tracks may bore the heck out of the listener with over 3 minutes of the same repetitive beats, but listen to it late at night right before bed, with all the lights out, and it will work its magic.

>>> 5 stars. This is a very enjoyable journey through the dark, brought to you by one of the most talented disc jockeys on the planet.

- the enlightened one