countdown boutiques-francophones Learn more scflyout Home All-New Kindle Music Deals Store sports Tools Registry
Profile for Wheelchair Assassin > Reviews

Personal Profile

Content by Wheelchair Ass...
Top Reviewer Ranking: 1,139,182
Helpful Votes: 52

Guidelines: Learn more about the ins and outs of Amazon Communities.

Reviews Written by
Wheelchair Assassin (The Great Concavity)

Page: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11-20
Stalled Parade
Stalled Parade
Price: CDN$ 20.69
13 used & new from CDN$ 11.26

4.0 out of 5 stars One of indie rock's finer moments, Sept. 13 2003
This review is from: Stalled Parade (Audio CD)
Like most indie bands, Eleventh Dream Day have been condemned to obscurity, but that apparently doesn't stop them from putting out some great music. "Stalled Parade" is my first and only of their albums, but based on what I hear here I can understand why this band has garnered so much acclaim. There are some excellent and varied sounds here, and this fact combined with the band's rock-solid musicianship ensures an always-interesting listen. The band dabbles in a lot of different stuff on "Stalled Parade," and they do it all well. The ethereal, textured title track should appeal to post-rock fans, while it's bookended by the hook-filled hard-pop brilliance of "Way Too Early On A Sunday Morning." Addictive alt-rock tunes like "Ice Storm" and "Ground Point Zero," propelled by guitarist Rick Rizzo's swaggering vocals and Janet Beveridge Bean's thumping drums, bring to my mind such better-known indie bands as Pavement and the Pixies. Janet also manages to get into the act, lending her somewhat childlike voice to the eerie, countrified "Valrico 74" and the ultra-catchy jangle-pop song "Bite The Hand." While on the whole the album is a bit underproduced, that's not enough to drag it down. Highly recommended for those who want some rock that won't lower their IQ.

Heavy As A Really Heavy Thing
Heavy As A Really Heavy Thing
6 used & new from CDN$ 12.75

5.0 out of 5 stars It begins..., Sept. 13 2003
Before the utter masterpieces "City" and "SYL," there was this rampaging slab of industrial-metal madness from the great Devin Townsend. It was here that Devin began to establish himself as metal's answer to Mike Patton, in terms of both vocal prowess and musical diversity. This may be a metal album, but it also shows the early signs of Devin's genre-bending tendencies. Like most great albums, it not only exemplifies its genre but also busts conventions to create something truly unique.
The sound of "HAARHT" can best be described as a sort of barely controlled insanity, with equal parts aggression and catchiness combined to form one of the most potent sounds in recent history. The opening one-two punch of "S.Y.L." and "In The Rainy Season" is a perfect summation of Strapping Young Lad's musical mission. Both songs reach a grindcore-esque level of speed and intensity, but if you listen closely enough you can hear melodies emerging from the sonic carnage, making things go down just a bit easier.
From there, the album branches out in some surprising directions, but it manages to remain firmly rooted in metal at the same time. Devin's voice is all over the map here, ranging from ear-piercing shrieks to fearsome death howls to something that actually bears some resemblance to singing. And in the grand tradition of Fear Factory and Ministry, samples and industrial beats are used often enough to make the album interesting, but not so much that they become tiresome or distracting.
Perhaps most importantly, "HAARHT" provides convincing evidence of the demented songwriting genius that would only become more apparent on SYL's subsequent albums. "Goat" slows things way down from the first two songs, but doesn't soften the album up one bit; the slower tempo merely serves to drive the steamrolling heaviness into you even harder. The Ministry-style "Cod Metal King" actually shows an admirable grasp of dynamics, moving from mid-tempo and subdued (by Devin's standards, anyway) to all-out headbanging fury without warning. "The Filler-Sweet City Jesus" has one of the most addictive guitar riffs in history, hands down. "Happy Camper (Carpe B.U.M.)" and "Drizzlehell" are quite possibly the most manical compositions in Devin's catalog, propelled by harsh vocals and vicious grooves that make the mirrors in my car vibrate (or maybe I just need new tires).
Metal lovers everywhere definitely owe a debt to Devin Townsend. Along with Meshuggah, the Dillinger Escape Plan, Soilent Green, and a few other bands, Strapping Young Lad are ensuring that the genre stays intriguing as it moves into the new millenium. If you consider yourself any kind of metal fan, you need this album. And if you don't like it, you're lame.

Heavier Things
Heavier Things
Price: CDN$ 15.00
87 used & new from CDN$ 0.50

2.0 out of 5 stars Face it; this is Dave Matthews Band-lite, Sept. 11 2003
This review is from: Heavier Things (Audio CD)
I really didn't have any intention of listening to this album, but when a member of my adoring public requested that I review it, I decided to oblige. And my expectations were exactly met: "Heavier Things" is full of pleasant, inoffensive, and undistinguished music that borrows so heavily from Dave Matthews's catalog that Matthews could easily sue John Mayer for royalties. There's mercifully nothing here as atrocious as "Your Body Is A Wonderland," which gets my vote for the title of worst song ever (It still boggles my mind that a full-grown man could sing the title line with a straight face, but then I think Mayer may have been addressing himself). However, I definitely can't go so far as to describe this album as good.
In spite of myself, I did find a few redeeming qualities here. The music is rather bland, but for the most part well arranged and performed. Mayer even comes up with a decent melody every now and then. In the end, though, "Heavier Things" suffers from two fatal flaws: first of all, Mayer is clearly influenced to an undue degree by Dave Matthews (I know I may be belaboring this point, but come on, it's obvious). Second, Mayer simply can't sing. His voice is whiny, powerless, and typically emotionless. He comes off sounding like, well, a second-rate Dave Matthews. Even when the music is decent, Mayer just gets in the way.
And isn't pop music supposed to be catchy? Because you wouldn't know it from some of the stuff on here. Overproduced, uninteresting songs like "Something's Missing," "Split Screen Sadness," and "Wheel" are like aural valium. "Come Back To Bed" is more than ten minutes long, which is inexplicable since it never goes anywhere. Not exactly a Dream Theater-style epic, if you ask me. These songs are the sound of someone who takes himself way too seriously when he has precious little reason to do so. They're almost as boring as the worst parts of the last Staind album, and that's saying something.
Obviously, there are those who will like this album. It's certainly no challenge to listen to, and makes for unobtrusive background noise. But if you like a challenge, or even just something fun, you'd be advised to look elsewhere. Can I interest you in a Queens Of The Stone Age album?

Price: CDN$ 5.00
69 used & new from CDN$ 1.45

4.0 out of 5 stars Excellent, but a bit disappointing. High three/low four., Sept. 11 2003
This review is from: Audioslave (Audio CD)
When I first heard that Chris Cornell was starting a new band with the erstwhile musicians of Rage Against The Machine, my reaction could best be described as ecstatic. Cornell is easily one of my favorite vocalists (perhaps eclipsed only by Jens Kidman of the almighty Meshuggah), and I've never considered Rage to be anything to sneeze at either. I thought Ragegarden (as my college roommate and I still refer to the band to this day), would be nothing short of revolutionary, rendering all preceding music virtually obsolete. Needless to say, I was rigid in joyful anticipation in the weeks leading up to their debut album's release.
When I finally got and heard the album, my reaction was one of extreme disappointment. I just couldn't hear anything special about Audioslave. Rather than sounding revolutionary, their album sounded to me like yet another grunge retread. At times, it even made me think of Nickelback (Aaaaaiiiiiiiiyyyyeeeeeeee!).
However, after putting the CD away for about six months and then breaking it out again for a few more listens, I can see it's much better than I initially believed. As is to be expected from a band consisting of Cornell and the ex-Ragers, the songwriting is tight, the vocals powerful, and the musicianship solid (and often spectacular). But coming from such a stellar cast, I think I have the right to expect more. Can anyone take this album, put it up against "Superunknown" song for song and say it even comes close? I think not.
This isn't a knock against the singles. "Audioslave" (couldn't they have come up with a better album title?) may be one of the few albums whose best songs made it to the radio. The powerhouse opener "Cochise" proves conclusively that Cornell's voice has lost none of its ferocity, the mournful ballad "Like A Stone" is millions of times more eloquent than anything the likes of Puddle Of Mudd or John Mayer will ever do, and "Show Me How To Live" features one of the catchiest, most explosive choruses in history.
The rest of the album, while far from bad, doesn't fare quite as well. There's certainly nothing wrong with it, but I just can't listen to this album without comparing what I hear with the brilliance that was Soundgarden's best work (to a lesser extent, the same can be said of Rage). After "Like A Stone," the band mixes hard-charging rock with more midtempo stuff, with results ranging from passable to excellent.
Unfortunately, the songs here too often seem stuck in the whole Seattle aesthetic that Soundgarden helped to create. There's nothing wrong with sticking to your roots, but Audioslave is a new band, and as such I think they should have devoted more of their album to exploring new directions that their undeniably prodigious levels of talent and creativity would have allowed them. When I heard that Cornell was getting together with the members of Rage Against The Machine, I expected something tantamount to genetically engineered super music, not a highly competent take on what's already been done by members of the "Seattle scene."
The main problem here, in my opinion, is this album's length. At fourteen songs clocking in at around sixty-five minutes, the it's simply not varied enough. They should have either devoted a few songs to branching out from the alternative/hard rock template that characterizes the album, or cut out a few songs. As it is, this album qualifies as a bit too much of a good thing.
Look, I really don't want to sound as if I'm bashing this album, because that's not my intention. But I had *enormous* expectations for it prior to its release, and they just weren't met. I think Audioslave could turn out to be a band worthy of its personnel, but I also think I'd be remiss if I didn't point out that there's some room for improvement.

Jane Doe
Jane Doe
Offered by Fulfillment Express CA
Price: CDN$ 30.00
33 used & new from CDN$ 10.86

5.0 out of 5 stars Aggressive, eclectic brilliance, Sept. 4 2003
This review is from: Jane Doe (Audio CD)
Over the next few years, "Jane Doe" may well come to be looked upon as one of those albums that change the way people look at music. Although Converge lean more toward the hardcore side of the heavy-music equation than such bands as Meshuggah, the Dillinger Escape Plan, and Soilent Green, their essential mission is the same. Like their metal counterparts mentioned above, Converge fuse mammoth heaviness with uncharacteristic levels of intelligence and musicianship, churning out jarring song structures and mutating time signatures without abandoning the aggression at the core of their genre.
On "Jane Doe," their most recent album, Converge demonstrate songwriting and instrumental chops that blow away almost anything I've heard in any genre, period. "Heaven In Her Arms" is doubtless one of the most maniacal compositions in the history of popular music, and tunes like "Concubine," "Fault And Fracture," and "Homewrecker" aren't far behind. Jacob Bannon's harsh, unintelligible shrieks may take some getting used to, but their raw power and visceral impact are undeniable. Besides, they perfectly match the music, which is nothing short of astonishing. The guitars manage to find a completely harmonious balance of math-metal heaviness and hardcore brutality, and Ben Koller's drumming is positively sick.
Remarkably, when the band slows things down, it's every bit as effective as the heavy stuff. Songs like "Distance And Meaning," "Hell To Pay," and "Phoenix In Flight" substitute a doomy, genuinely creepy atmosphere and snatches of melody for the sonic carnage that's typically on display. The result is a genre-busting album that is as eclectic as it is creative.
And then there's the closing title track, which is an awe-inspiring culmination of everything that's come before it. Clocking in at more than eleven minutes, it's a mountainous epic that grabs your attention from the first note and never lets go. Between Jacob's mix of tortured screams and soaring clean vocals, and the band's intricate and enthralling music, this song contains more power than most bands will be lucky to summon up in an entire career. With "Jane Doe" (both the song and the album), Converge have both stepped outside the hardcore genre and maintained a solid rooting in it, resulting in brilliant music that all open-minded listeners should be able to enjoy. Period.

Gangs All Here
Gangs All Here
Offered by Fulfillment Express CA
Price: CDN$ 25.02
28 used & new from CDN$ 6.89

5.0 out of 5 stars Play it loud!, Sept. 3 2003
This review is from: Gangs All Here (Audio CD)
For the most part, the Dropkick Murphys don't play their instruments all that well. Vocalist Al Barr sounds like the cookie monster, and bassist and co-vocalist Ken Casey won't make anyone forget about Frank Sinatra either. Their songs are short, simple, and heavily indebted to punk bands of old. The likes of Beethoven probably roll over in their graves whenever these guys release a new album.
So why the lofty rating? It's simple, so simple in fact it can be expressed in a single word: heart. The Murphys put more of themselves and their emotion into their music than just about anyone I've ever heard. Their booze-soaked, Irish-inflected punk rock sound is the sound of a band of regular guys that actually care about what they're doing, not about what will get them on the radio or endear them to the pretentious. They've gotten away from those roots a bit on their last two albums, especially the recent "Blackout," which while competently written and played, doesn't display much of the fire and energy that once characterized the band. However, on their debut "Do Or Die" and its followup "The Gang's All Here," the Murphys can be heard in all their raucous glory.
For "The Gang's All Here," the Murphys faced the rather daunting task of replacing departed singer Mike McColgan, but Al filled the bill so well the guys didn't miss a beat. Al's cookie monster-growl may not be quite as endearing as Mike's brogue-tinged shout, but it's still more than adequate. Indeed, it's hard to imagine such songs as "Blood And Whiskey" and "The Only Road" performed by anyone else.
In the end, though, what makes "The Gang's All Here" such a triumph is the fact that, like "Do Or Die," it's filled with classic songs. "Blood And Whiskey," "Pipebomb On Landsdowne," "Perfect Stranger," and "The Only Road" are all perfect examples of prototypical, foot-stomping punk anthems. They're loud, they're fast, they're short, and they'll likely have you banging your head and reaching for a beer in no time (although I wouldn?t recommend that second part if you're driving). Matt Kelly is an excellent drummer, way above the punk standard, and his maniacal skin pounding may well do more than anything else to separate the Murphys from the pack. What the guitars lack in sophistication they make up for in raw power, and the same can be said of the vocals.
The adrenaline rush provided by the songs mentioned above and a few others may be the best thing about "The Gang's All Here," but the quality doesn't stop there. Songs like "Upstarts And Broken Hearts" and the positively heart-wrenching "Wheel Of Misfortune" slow things down for more of an emotive and thoughtful approach, with some surprisingly intelligent lyrics to match. My personal favorite here, "Curse Of A Fallen Soul," starts out as a slow and melancholic elegy to a dead friend, and the first time I heard this song I thought early on that it would be another slow tune. Well, I thought wrong, because about a minute in the song turns fast and heavy on a dime for a dynamic roughly equivalent to having a safe dropped on your head. In another surprise, the band does an all-instrumental cover of the classic "Amazing Grace," and their mix of bagpipes and hard-driving punk riffs works a lot better than one might expect.
Hearing this album, it's easy to see why the Murphys have become such heroes in their (and my) native Massachusetts. They've packed them in for multiple shows at one the biggest clubs in Boston for two straight St. Patrick's Day weekends, and justifiably so. Success may have dulled their edge a bit, but it's still easy to tell that these guys are at the very least making efforts to stay in touch with their fans. Hopefully they'll be a source of good music for a while to come.

Anthems of Rebellion
Anthems of Rebellion
Price: CDN$ 20.79
27 used & new from CDN$ 10.78

4.0 out of 5 stars It's Arch Enemy, and therefore excellent., Sept. 2 2003
This review is from: Anthems of Rebellion (Audio CD)
Although I enjoy many types of music, in my mind nothing beats a good, balls-out metal album, and Arch Enemy have never failed to deliver in that regard. For almost a decade, and in spite of a drastic change in vocalists, this European crew has been cranking out almost impossibly tight and technically advanced compositions, and they're still going strong today. They've long been established as one metal's top bands, and "Anthems of Rebellion" should only cement that standing. In fact, it might even be their best release yet.
Much like their previous albums, "Anthems Of Rebellion" often has the feel of a guitar clinic, which makes sense given the fact that the band is led by ex-Carcass axe-man Michael Ammott and his brother Christopher (who's not too shabby himself). Along with Meshuggah's Fredrik Thordendal and Marten Hagstrom, these guys stand right at the top of the modern metal guitar-duo heap. Together, the two tear through a non-stop succession of intricate harmonies, thunderous riffs, and explosive solos. The rest of the band is nothing to sneeze at either. The rhythm section of bassist Sharlee D'Angelo and drummer Daniel Erlandsson often struggle to make themselves heard behind the stunning guitar onslaught, but they deliver all the surgical precision necessary to anchor music this aggressive. Fronting it all is Angela Gossow (she's a woman), whose throat-ripping vocals are among the most insane you'll hear from either gender. It's just not extreme metal without some anger and vitriol, and Angela brings plenty of it.
Musically, the album adheres mainly to the Iron Maiden-derived, Gothenburg-style melodic death/thrash sound that Mike has been renowned for since his days with Carcass. Steamrolling, death-metal heaviness is still present, but extreme metal has rarely been so catchy. The band's sound has become more streamlined than ever, resulting in an album that includes some of the most wildly infectious metal songwriting to grace the genre since In Flames's heyday. On track after track, Mike and Christopher lay down thick, heavy grooves that should prove once and for all that heaviness, musicianship, and melody can peacefully coexist. "Dead Eyes See No Future" and the stunning "Instinct" feature some of the most insane guitar acrobatics of the past decade, accompanied by Angela's venomous rasp and disaffected lyrics. "Despicable Heroes" is a roaring thrash-metal tune sure to please avid Haunted lovers like myself. "We Will Rise" throws somewhat of a curveball by starting out subdued and minimal (by Arch Enemy standards, anyway) before turning on the heaviness in the chorus.
Fortunately, Arch Enemy also manage to avoid the production problems that have plagued some of this year's big-name metal releases, from Nevermore's "Enemies Of Reality" to (to a much lesser extent) the Haunted's "One Kill Wonder." Some metal albums probably should have raw production, but an album that relies on technical perfections as much as "Anthems" definitely isn't one of them. Fortunately, the mix here is crystal-clear, allowing the listener to follow everything that's going on without having to pick through a wall of sound. All in all, this is another fine album from a great band, and sure to make my prestigious "Best of 2003" list.

Murray Street
Murray Street
Price: CDN$ 15.47
46 used & new from CDN$ 5.08

4.0 out of 5 stars This may take a while..., Sept. 1 2003
This review is from: Murray Street (Audio CD)
Usually, I figure two or three listens are enough to get an idea of whether or not I like an album. I've reviewed some albums as early as the second time I've heard them. "Murray Street," however, defied my initial opinion-forming efforts. I'm currently at about my eighth listen, and I'm just figuring out how I feel about it. I had heard of, but never heard, Sonic Youth before I heard "Radical Adults Lick Godhead Style" on an internet station and decided to check out the album, so I can honestly say that my opinion of "Murray Street" isn't impacted by any preconceptions regarding this band or their previous body of work. Judged on its own merits, though, this album definitely calls for a more thorough examination of the Sonic Youth catalog.
Anyway, what does the album sound like, you might ask? Well, if I say so myself, pretty great. My own personal experience indicated that this album requires an ear for detail and repeated listens to get into, so I recommend to any listeners that they give this album some time and attention before rendering a judgement one way or another. Based on what I've read, this album isn't as extravagant or adventurous as Sonic Youth's previous work, but that doesn't mean it's without its charm.
"Murray Street" as a whole has a rather trippy and melodic vibe; I could even go so far as to describe much of the material here as "laid-back," but not at all in a bad way. The musicianship here is very high-quality, but the band members clearly aren't out to beat you over the head with their chops; one reason this album took me a while was because the subtleties of the music were gradually revealed to me with each subsequent listen. Traditional pop song structures can be found here, but the band can also launch into extended, improvised-sounding instrumental passages with equal success. Of special note are the mind-bending guitar solos that leave no doubt as to why Thurston Moore and Lee Ranaldo were both ranked in the top forty of Rolling Stone's list of the 100 greatest guitarists of all time (I personally thought that list was somewhat of a travesty, but making it is still pretty impressive).
The band may have three skilled guitarists, but awe-inspiring, Hendrix-style displays of technical prowess are not to be found. Instead, Thurston and company reveal themselves to be masters of atmosphere. When every member gets locked in together and those guitars intertwine, it makes for some truly transcendent listening. "Radical Adults Lick Godhead Style," which I found to be the most accessible and "rocking" song on here, is an excellent guitar song that displays equal amounts of virtuosity and efficiency. The jagged lead lines and angular hooks are sure to get your head bobbing, and they're enhanced by mesmerizing background atmospherics that propel the song to dizzying heights. When Sonic Youth reach that perfect middle ground between conventional and experimental rock, it makes for some of best listening of the past few years.
The other songs on "Murray Street" aren't quite as immediate, but they're a taste worth acquiring. "The Empty Page" and "Disconnection Notice" may sound easygoing on first listen, but there's an abundance of intricate, fascinating noise roiling beneath the surface. "Rain On Tin" and "Karen Revisited" start out in a similar manner before shifting gears and turning into prolonged guitar-led jams. "Karen Revisited" goes on a bit too long IMO, but "Rain On Tin" is a prime example of the joy of unpredictability, and may well be the best song here. Kim Gordon's punkish, riot-grrrrrl "Plastic Sun" is a short burst of adrenaline that provides some much-needed aggression late in the album. In contrast, Kim's closing, nine-minute epic "Sympathy For The Strawberry" is one of the most elegant songs I've heard lately, with a shimmering guitar freakout eventually giving way to her very pretty, almost childlike vocals.
As I've already noted, "Murray Street" isn't for everybody. This isn't pop, so if you tend to form an opinion on songs within a minute of the first time you hear them it may not be for you. However, I think one of the most compelling qualities of "Murray Street" is the way it forces you to *listen* to each song from beginning to end. I give this album a hearty recommendation to those who want to hear some rock with brains.

Read Music/Speak Spanish
Read Music/Speak Spanish
Price: CDN$ 17.29
20 used & new from CDN$ 7.34

4.0 out of 5 stars They're like, angry and stuff., Aug. 30 2003
Desaparecidos are not a band for everyone. "Read Music/Speak Spanish" is a loud, noisy, and often abrasive album. Frontman Conor Oberst's vocals are occasionally sung, but more often they're screamed in an intonation so harsh it could make a metal vocalist run for cover. The guitars serve up an endless array of aggressive riffing and ear-piercing noises. The rhythm section is all over the map, propelled by frightfully heavy drumming. There are melodies here, but they take a backseat to the stunning musical onslaught on display. This music on this album is what my dear old dad would describe succinctly as a "friggin' racket."
However, not only is the sound described above the best possible sound for "Read Music/Speak Spanish," but there's no other way it could have sounded. The whole album is a roller coaster of emotions, fuelled by Oberst's disaffection with America's consumerist society. Easy listening this is not: the album is full of dynamics that make Nirvana sound like Mel Torme. Quiet, meditative moments can be found here, but they serve mainly to provide a foil for Oberst's inevitable fits of anger. Catharsis is the name of the game here, not providing ear candy, and for what it intends to be "Read Music/Speak Spanish" is a smashing success. In it's own way, it's even sort of pretty. I've practically cried listening to this album. Seriously.
And then there are the lyrics. They're, uh, good. If you've ever felt stultified by suburban existence, you definitely need to hear this. Materialism, commercialism, conformity, and education all get their turns for Oberst's rants. At every turn, the increasingly numbing shallowness of our society is held up for scorn, as well it should be. While legions of fake alterna-lite bands schmooze the radio with their disaffected poses, Desaparecidos are delivering the real thing.
Sometimes I try to dwell on different songs, but with this album that's entirely beside the point. The tracks don't have their own identities so much as they bleed into one another, making "Read Music/Speak Spanish" sound more like a single, cohesive polemic than a collection of distinct tracks. Besides, they're all good. Every song resonates with genuine emotion, a commodity that's increasingly hard to find. If you're a serious music fan, you need to pick this one up ASAP.

Not Another Teen Movie (Bilingual)
Not Another Teen Movie (Bilingual)
DVD ~ Chyler Leigh
Price: CDN$ 9.99
41 used & new from CDN$ 0.01

4.0 out of 5 stars Worth three stars for the token black guy alone..., Aug. 23 2003
But there's some other good stuff here as well. When a genre reaches its saturation point, nothing takes the piss out of it like a good satire, and "Not Another Teen Movie" fits that bill quite nicely. Since teen movies are notorious for taking themselves way too seriously, it was inevitable that a movie was going to come along to do for the genre what "Airplane" did for disaster movies and "The Naked Gun" did for cop flicks. Such a movie could every easily wind up being every bit as stupid as the targets it mocks, but fortunately "Not Another Teen Movie" is far funnier and more intelligent than it has any right to be. Although it takes its plot loosely from the miserable "She's All That," "Not Another Teen Movie" takes aim at virtually every overheated teen dramedy to hit it big in the past two decades or so. Every few seconds, there's some inspired gag that slices and dices the more ridiculous elements of such movies as "American Pie," "The Breakfast Club," and "Varsity Blues." The movie trots out every stock character possible, and deflates every pretentious genre cliché in the book. There's the pack of horny teens, the slow-motion entrances, the big high-school party, the geek in love with the beautiful girl, and of course the above-mentioned token black guy (who absolutely owns the movie in his limited screen time). Even the gross-out gags are way funnier than they should be, because it's obvious that they're entirely tongue-in-cheek. It also doesn't hurt that the cast includes two of the hottest women alive in Chyler Leigh and Mia Kirshner (not even to mention Jaime Pressley), or that Molly Ringwald and That Guy Who Played The Principal In "The Breakfast Club" are brought back for way-funny cameos. And while I don't really know what exactly Mr. T was doing here, his appearance is still quite humorous. The movie does lose a few points for having the horrible excuse for a band known as Good Charlotte playing at the high school prom, but it's not enough to bring it down. If you're not above laughing at some admittedly sophomoric stuff, you should check this one out.

Page: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11-20