Top 12 Films of 2008

This was originally supposed to be just a Top 10 list, but since the world counts time in duodecimal, I threw in two more films and made it a Top 12 list.

I have seen quite a number of films this year, but still, I know some people who've seen a lot more than I have. So if one particular film is not in the list, it's probably because I haven't seen it. This list is limited only to those films which I have seen and reviewed in Da Couch Tomato.

Some films which were released in 2007 yet only made their theatrical run in the Philippines in 2008 are not included. This list is strictly limited to only those films released in 2008. Oh, and the list is also limited to foreign, more specifically, Hollywood films, as I don't believe I've seen at least twelve local films this year.

So without further ado, here are the Top 12 films of the year. Click on the title to view the original review as it appeared in Da Couch Tomato.


12. Horton Hears a Who

So far, this film is the closest Hollywood has ever come to bringing the essence of Dr. Seuss to life. Well, The Grinch was okay (it also starred Jim Carrey), but Mike Myers's live-action take on The Cat in the Hat was a terrible move, which prompted Dr. Seuss's widow to declare that henceforth, there shall be no more live-action adaptations of the children's stories. I always wondered why it took Hollywood so long to realize that the only way to breathe life into these stories, and do justice to them, is through the animated medium, and nothing else.


11. Pineapple Express

Viva la stoner flick. Well, even if this weren't a stoner flick, it would still probably be on the list, since Judd Apatow's comedies are one of the most intelligent comedies churned out by Hollywood today. Funny man Seth Rogen is in it, and so is James Franco, whose performance alone will make this film worth watching.


10. Iron Man

Probably one of the most decent Marvel Comics adaptations to come out, Iron Man puts the cherry back on top of Robert Downey, Jr.'s career. This goes on to prove that superheroes with no real superpowers (like Batman) tend to become the most successful in the box office. Normal human beings can really relate to guys like Tony Stark and Bruce Wayne. Plus the fact that they're both millionaire playboys probably adds to their appeal.


9. The Happening

M. Night Shyamalan is still one of the most talented visual storytellers in the industry today, yet he is often chided when he strays far away from his macabre style. Somehow, people always expect him to stick to The Sixth Sense formula, yet they don't realize that Shyamalan's diversity is one of his greatest strengths as a filmmaker. The Happening may disappoint some viewers, but its subtlety is what actually makes it work.


8. Burn After Reading

First of all, it's written and directed by the most recent Oscar winners, the brilliant Coen brothers. Second, it has a great cast. Third, Brad Pitt gives a terrific performance. The Coens do a terrific job of balancing darkness and humor, and the cast does an even better job of executing the directors's vision.


7. Kung Fu Panda

For capturing the spirit and essence of the eighties Chinese kung fu flicks, and successfully translating it into animated animals, this film deserves a lot of credit. Kung Fu Panda again showcases the power of the animated medium to go places where live-action dare not tread, and if you're not turned on by the excellent action sequences, then Jack Black's humor probably will.


6. Tropic Thunder

Ben Stiller's weird brand of comedy (he co-wrote and directed the film) is enhanced by a screwball cast of really talented comedians, including Jack Black and Robert Downey, Jr. (who's on a roll this year). The film-within-a-film type of movie is something viewers haven't seen for a long time, and with unexpected cameos from A-list actors, this film is sure to entertain from the time the cameras start rolling all the way to the DVD commentary.


5. WALL-E

Again, it shouldn't come as a surprise to anyone why a Pixar film appears on a list of the best movies of the year. What pushes the envelope this time is the film's minimal use of spoken dialogue (the dialogue comes only in the latter half of the film), which makes you appreciate how brilliant the animators are in letting a computer-generated robot do all its acting with just the eyes.


4. Vantage Point

The "whodunit" is one of the most entertaining genres of film, as it keeps you on the edge until the film's resolution. But more than an effective script, Vantage Point has excellent directing, a great play of great actors, terrific editing and sound design─all the individual aspects of the film combine to form one action-packed suspense thriller. In the end, it doesn't really matter whodunit; it's the ride that counts.


3. Wanted

Adrenaline-pumping action and fantastic camerawork make this film a must-see, along with possibly the best action sequences of any film to come out this year. James McAvoy's convincing portrayal of an accountant-turned-assassin provides the glue that holds this entire comic book adaptation together, and director Timur Bekmambetov's filmmaking style, imported from across the Atlantic, should give the Hollywood studios a heads-up on the advantages of bringing European storytelling onto American soil.


2. The Dark Knight

I was deciding on whether to use Christian Bale's or Heath Ledger's picture, and although Mr. Man-Crush Bale's face looks more aesthetically pleasing, it's Ledger's Joker that captures the essence of The Dark Knight. Expect several Oscar nominations for this film, and I'm not just talking about Heath Ledger's performance. Christopher Nolan's filmmaking is excellent in all aspects, and he literally puts the word "dark" in The Dark Knight.


And finally, the best film of 2008 is...

1. U2 3D

Like I always keep telling people, 3D is the future of movie-going. This is the way movies are supposed to be seen. And if you've never seen a 3D film before, U2 3D would turn you on to the magic of 3D cinema. This film has broken new ground on several aspects of filmmaking, possibly re-writing the rulebook on how 3D films should be made. This is not a regular flick converted to 3D; this film was conceptualized and shot especially for the 3D medium, resulting in the best mind-blowing sensory experience without resulting to psychedelic drug use. The film itself is its own drug, and come Oscar time, expect several nominations for this, especially for Editing and Sound Design.

The Day the Earth Stood Still(1951) vs. The Day the Earth Stood Still (2008)

It's only been a few hours since I've seen the original 1951 version of The Day the Earth Stood Still. Like a lot of people who have seen the remake, I thought the new film was okay with the regular amount of plot holes and exaggerations that always seem to hound Hollywood movies. I read some articles on the new movie and how they were disappointed with this version and how they longed for the older version. As it was, I watched the original version expecting a much better film than Keanu's version or at least a better movie overall.

So was it?

In a word, no.

Unlike a lot of movie fanatics, I am not swayed by the idea that the older version always trumps the new one. I do not care about thinking that the original had a lot better plot or had better actors or that they had to make do with what they have back in the day. To put it bluntly, The Day the Earth Stood Still (1951) is a disappointment.

The two versions are actually two very different movies. The only thing that they truly shared are the title, character names, the idea of destroying mankind and the anti-climactic ending (the 1951 version trumping the new one on this aspect).

The plot line of the original version is this: aliens arrive on Earth because of a couple of recent developments---Man's discovery of Atomic Energy (this is 1951 after all) and Man's recent fascination with rockets and going to space. The two combined is what troubles these aliens. They do not care about the planet and unlike the new film, talk about Earth only as a whole and almost never as Earth and Mankind. They fear that soon, Earth would be arming these rockets with atomic warheads and begin destroying other planets.

And so they bring in Klaatu, played by Michael Rennie, a rather less stoic or more human version of Keanu Reeves. The purpose, supposedly was that to tell the world leaders of this problem and that the world as a whole should accept their proposal or risk annihilation.

This is where the plot bogs down and yet gets glazed over by every single film critic I've read. The proposal is essentially to stop this scientific development because they would be considered as a threat to the peace and stability of the universe. In a modern day analogy, this is the same as when the US does not want other countries to develop nuclear weapons because they threaten the peace and stability of the world as a whole. While the idea may be good, it does not alter the fact that in both cases, the people (or aliens) ordering this shutdown in development have the exact same capability as that which they do not want others to have.

The hypocrisy of this alien is therefore omnipresent as they do not want us to develop these capabilities (which we are nowhere near having especially at that time) because we "might" destroy other civilizations (that we do not even know exists) or else we ourselves, the entire Earth, will be destroyed.

In a sense, the new version is even a plot upgrade from the old one as at least the new one makes more sense. In the new version, we are asked to reform our ways because we are destroying our planet and I suppose, these Aliens are life protectors or something. I personally do not like the moral posturing of the new version. While I like the idea that we should change our ways, I do not understand why the Aliens seem to care about what we do. It would have been a much better idea if the Aliens wanted to annihilate mankind because we are destroying our planet and that if we do succeed in killing Earth, it would cause some cosmic catastrophe of some sort (like a black hole) which would disrupt life on their planet. That would have been less preachy.

Back to the 1951 version, Klaatu just wants to talk to the people and say these things and in a sense, he was able to do so in the end. However, there is nothing that would show any resolution to the story. No, it's not not the kind of lack of resolution that makes you think "Hmm... what could possibly happen?" It's the kind of lack of resolution, that makes you think "WTF?"

The musical score of this 1951 movie is top notch from start to finish. They always put you in the right mood that seems to warn you of an impending doom which eventually never happens.

A lot of people think that Keanu's The Day The Earth Stood Still is a bad remake of an awesome film. In truth, 2008 is an okay version of a slightly below average 1951 version.



The Day The Earth Stood Still (1951): Three Stars.
The Day the Earth Stood Still (2008): Three Stars.
At Gunpoint: 2008 over 1951.

And Introducing...

As a year-end treat, I have decided to extend some generosity to one of my good friends and high school buddies, who goes by the name of The Mayn Man.

After this post, my review blog Da Couch Tomato will now be a team blog. I have added Mayn Man as an author. Reviews are just opinions, and everyone's opinion is welcome (just keep them intelligent). With that said, anyone else with an itch to write their own film review/criticism is welcome to join. As if anyone else would be interested anyway.

So here we go. I actually don't care if anybody reads this blog anyway. I just love to write.

Anansi Boys

Question: Neil Gaiman is:
a) an alien;
b) a mythical creature in human form;
c) a god;
d) a literary genius;
e) a very close friend of Tori Amos;
f) a, b, and c only;
g) d and e only;
h) all of the above;
i) none of the above.

(That's how one of my favorite law school professors makes his multiple choice exams.)

Anyway, Anansi Boys is Gaiman's latest novel, although this review is three years late (the book came out in 2005). This more or less follows a similar reality with his earlier novel American Gods. The basic premise is that what if gods could be incarnated in human form? What happens to any offspring they might produce? And Gaiman shows us three possible answers as to what their children might be. They could be: a) half-human, half-god; b) either full human or full god; or c) both human and god at the same time. Anyway, that's delving too deep in the philosophy of Neil Gaiman's mythical universe. I'm sure all the author wants us to do is enjoy reading.

I commend the author on his willingness to break new ground, as he draws his characters this time from world mythology, specifically the folk tales of Ghana's Ashanti tribe. Western literary mythology should no longer be limited to Greek or Norse tales. This is already the new millennium, and it should be the duty of all human beings to familiarize themselves with the mythology of the rest of the planet.

And true to form, Neil Gaiman delivers an amazing read, which for me is much better crafted than American Gods. Of course, this is Gaiman's second take using the same reality, and with a four-year gap between the two novels, obviously Anansi Boys has already perfected the formula.

I wouldn't even try to attempt to write about Neil Gaiman's mythology, as that in itself can already be a full thesis for a Comparative LIterature major. Besides, words can barely describe the richness, and the strangeness, of Gaiman's universe. If a writer's word choice were like his or her literary DNA, then Neil Gaiman's genetic code would stand out like a gigantic, mutant sea monster. Only Gaiman can write like Gaiman, and if you haven't been introduced to his writing yet, this book would be a good book to start with.

Aside from the strangely beautiful universe spun by the author, this book's selling point would probably be its humor, as it is written in a noticeably more comical tone than American Gods. Humorous storytelling is definitely the most effective approach when telling a tale of gods and mortals, and Gaiman exploits this with great results.

Again, a salute to a great writer, whose works will still be read a hundred years from now. So to all you readers out there, start reading this book (if you haven't read it yet), as we all eagerly await the next book from "the rock star of literature" (it's probably the hair).


Rating: Four stars.

Mamma Mia!

Contrary to popular belief, males who like musicals are not gay.

Musical films have experienced a resurgence recently, and I'm not sure what brought about their new rise in popularity, but it seems that they're here to stay. I think it's the fusion between Holly- and Bollywood.

Anyway, this film is based on the musical of the same name, and as the title suggests, it is scored with music from the Swedish band Abba (the two male members of Abba in fact also make cameo appearances in the film).

Surprisingly, this film has now become the highest-grossing film musical of all time (how could it ever beat The Sound of Music?) and yet I do not consider this film a personal favorite.

First of all, I find it problematic when writers try to craft a musical around a pop band's discography, like what they did with The Beatles in Across the Universe. I believe it limits the story that can be crafted out of it, and it would take a genius to pull it off perfectly. And for me, this film comes off as a bit forced. But Abba seems happy about it, so why bother?

Performance-wise, Meryl Streep delivers a great performance, and though she is getting older, she still has the vibrancy of youth. It's not something that can be altered by plastic surgery; I'm talking about the inner youth from within. Meryl Streep still has it in her. Amanda Seyfried's performance is okay, to put it bluntly. It didn't suck, but it didn't stand out either. But her three possible fathers in the film are another matter altogether.

Critics lamented the fact that three talented gentlemen not known for their singing abilities were cast in a musical of this caliber (this was actually produced by Tom Hanks and his wife Rita Wilson). I mean sure, Colin Firth knows a little guitar, and Stellan Skarsgård has some moves, but I pity Pierce Brosnan, whose singing has been compared to "a braying donkey" (ouch).

Production-wise, the film's setting limited the production, as everything took place on the Greek island of Kalokairi. So all the dancing and singing was confined to that location. And it is my opinion that Abba's songs are too colorful to be limited to such a small space.

Finally, when reviewing a musical, one cannot avoid comparing it with other musicals of its time. And my standard for modern musicals is still Hairspray. At least Hairspray had all original songs. Like I said, it is a very difficult task to construct a decent musical out of an existing band's discography, and this film is no exception.


Rating: Three stars.

Avatar: The Last Airbender. Book Two: Earth

People tell me that at my age, I shouldn't be watching cartoons anymore. That's a real nasty stereotype, associating animation with age. If cartoons are supposed to be for kids only, then it should also be done by kids. Yet everyone knows that animators are adults who get paychecks and social security numbers, but no one's complaining, right?

Moving on. This is now the second book (or the second season) in the Emmy award-winning (yes, it won an Emmy) animated series, and the last airbender Aang continues on his quest to master the four elements. And as the title suggests, this time he masters the element Earth.

There are of course new characters, including Toph, the blind girl who happens to be an earthbending master. And there's also the beautiful Princess Azula (Prince Zuko's sister) and her two sidekicks Mai and Ty Lee. Princess Azula shows off her awesome power, a variation of firebending─she is able to shoot lightning, like the Sith Lords in Star Wars, but Uncle Iroh (who is now my favorite character) shows that he too can bend lightning.

The fight scenes are still a joy to behold, and they're even better than the fights in Book One. Of course, this is due to the limitless possibilities of the animated medium. Now we have anime fight scenes with slow-motion shots straight out of The Matrix. If you're not yet an Avatar fan, it might just be the fight scenes that will win you over.

Anyway, going back to my first argument, if you think that adults shouldn't watch cartoons, then check out this thread, and you'll see how many adults are hooked on this show. So who said cartoons are for kids? Grow up.


Rating: Five stars.

The Day the Earth Stood Still

I saw this film after the nauseating camera movement of Quarantine, and I thought to myself, "Finally, a proper movie."

But that's all this is---a proper movie. Not even a great movie. Just proper.

First of all, it's a sci-fi flick. Very few science fiction movies can come up with something original this day and age. Aliens and spaceships and aliens and saving the earth and more aliens---this is basically what this film is in a nutshell. Well, this actually is a remake of a 1951 film of the same title, directed by Robert Wise (who directed The Sound of Music). This 2008 version was directed by Scott Derrickson, and what he did was to update some themes in the old version to make it more relevant to today's audience.

Okay, let me stop pretending I know a lot about the original 1951 version, so for a comparative analysis between the two films, just read this excellent review.

Let's just go directly to the aspect that I love to criticize the most: acting. First of all, Keanu Reeves. It might be just me, but I really think that Keanu Reeves has a very limited acting style. I know he tries hard, God bless him, but somehow it seems his best performance was playing Ted "Theodore" Logan of the Bill and Ted films. Now Jennifer Connelly is another story. I've loved her since Labyrinth, and her Oscar win for A Beautiful Mind cemented her status as a really talented actress. I think it's in her eyes, which does half of her acting for her.

Another Oscar winner in this film is the wonderful Kathy Bates, but I believe her role in this film as the US Secretary of Defense downplays her acting abilities. Veteran John Cleese makes a very short appearance as some Nobel Prize-winning scientist, while Jaden Smith (son of Will Smith and Jada Pinkett) gives an annoyingly good performance. His acting is so effective that you'd hate the brat.

Anyway, before the holiday lineup invades the movie theaters, go see this movie if you love effects-driven films, or if you want to see Keanu Reeves's handsome mug on the big screen. But for the true science fiction fans, the only thing worth waiting for right now would be the remake of Frank Herbert's Dune.


Rating: Three and a half stars.

Quarantine

Critics have mixed reactions about this film, most of them positive. I, however, will have to disagree.

Okay, let me start by giving the plot of the film. Some people get trapped inside a building when one woman, infected with some sort of rabies-like disease that infects other people like zombies, begins to infect the other tenants. This whole building is then quarantined by the government, hence the title, and more and more of those trapped inside get infected.

This film, by the way, is the American remake of the Spanish film REC. The treatment for this film was a reality-TV approach, told from the point of view of a reporter, played by Jennifer Carpenter, and her cameraman. The cinematography was tolerable, although it tried to focus too much on looking too realistic, sacrificing dramatic lighting in some scenes where I think it would've worked better. Sometimes the lighting was too dark, and I was really bothered by the jerky camera movements. Personally, I thought it was a good decision by director John Erick Dowdle to go hand-held all the way, but he doesn't seem to have made much use of the Steadycam. Bottom line is, it jerked too much, it was disorienting.

On the performances, I think the script limited everyone's acting. Veteran actor Rade Serbedzija was not given a chance to stretch his muscles, and even Jay Hernandez wasn't given the chance to showcase his pretty boy looks. And Jennifer Carpenter, talented actress that she is, does nothing but scream in this picture.

Now as a frightfest, the film is very, very effective. The only problem is, I watched it alone (oh, poor pathetic old me). Do not make the same mistake I did. Watch it with your buddies, or with your special someone, as frightfests are never meant to be seen alone.

Oh, and since it's almost the end of its theatrical run anyway, here's a spoiler for you people: everyone in the movie dies. So there.


Rating: Three stars.

Burn After Reading

Trust the Coen brothers to come up with something fresh after their Oscar win.

A title like Burn After Reading immediately evokes some sort of spy thriller-mood, like Mission Impossible's "This message will self-destruct in five seconds." And that is indeed how this film was marketed, as a spy thriller slash comedy. But honestly, I thought the spy element was not really a major part of the narrative, but just a backdrop chosen for the characters to interact in.

The film mixes government bureaucracy, extra-marital affairs, and physical fitness into one slightly sick, slightly demented take on the nasty things that happen in the US capital. John Malkovich plays an ex-CIA agent who gets fired because of a drinking problem. Tilda Swinton plays his wife, who is actually having an affair with George Clooney. Clooney's wife, a writer of children's books, also has an affair with someone, and all this happens while Clooney screws Frances McDormand, a gym instructor who is obsessed with liposuction and who has a boss (played by Richard Jenkins) obsessed with her. And the cherry on top of this star-studded cake is none other than Brad Pitt himself, also a gym instructor, but a little on the slow side.

Everyone's acting was great, as the Coen brothers wrote all of the roles (except Tilda Swinton's) especially for the actors who played them. The cast can be considered quite a lucky bunch; how many actors actually get roles tailor-made for them from two of the most talented filmmakers in Hollywood today? Yet despite all the good performances, it's still Brad Pitt who steals the show. For people who've forgotten that Brad Pitt is not just another pretty face, remember that this man is more talented than most of the Hollywood hunks today.

Burn After Reading is one of those films that is either so dark it's funny, or it's so funny it's dark. And because of this characteristic, people might miss the darkness or the humor entirely. But it is both dark and funny, and when you watch it, just remember to soak in every second of Brad Pitt's screen time, as he doesn't grace the screen as much as the others.


Rating: Four stars.

The Sopranos. Season Two

The modern-day mobsters are back for the second season.

Well, we all know the premise of this series: The Sopranos is about a New Jersey crime family, and the life behind the gangster curtain─and all the domestic problems included with it.

Season Two sees the once-mighty Uncle Junior indicted, and he spends most of the season under house arrest─complete with the sensor strapped to his ankle. Because of this, his nephew Tony (played by James Gandolfini) now officially becomes the Don of New Jersey. We also see these mobsters dip their hands in anything that will make money, which include airline ticket scams and sales of bogus phone cards.

We also see some changes in the old characters. Aside from T running the show now, his shrink Dr. Melfi begins drinking vodka before their therapy sessions. AJ Soprano undergoes the normal confusion of puberty as he begins to question life after reading the works of Camus and Nietzsche, while Meadow Soprano graduates high school in the season finale. Chrissy Moltisanti (played by Michael Imperioli, who coincidentally wrote Episode 22 of this series) discovers his artistic side, and begins flirting with acting and the movies (watch out for cameo appearances by Janeane Garofalo and director Jon Favreau). But later on in the season, Chrissy encounters a near-death experience when two of his underlings make an attempt on his life. Silvio and Paulie are bumped up to the position of capo, and Tony finally breaks up with his hot Russian girlfriend Irina. And where is Pussy Bompensiero in all of this? He wasn't promoted, because he was a rat for the feds.

Of course, Season Two also has some new characters, including Richie Aprile, elder brother of former boss Jackie Aprile. Then there's Tony's sister Janice Soprano (who also goes by the name of "Parvati," part of some New Age name-change phase she's been going through). And then there's Furio Giunta, the ponytailed thug the Soprano crew brought home with them from Italy.

Season Two has love─Richie Aprile marries Janice Soprano; murder─Janice Soprano kills Richie Aprile; and an execution─Tony, Sil, and Paulie execute their close friend-turned rat Pussy on a boat in the high seas. This is only the second part of the Soprano saga, and there will definitely be more to come.


Rating: Four stars.

Pineapple Express

I firmly believe that the so-called "stoner flick" can now be considered a legitimate genre of movies. But strangely, this type of film is only popular in America. Don't expect any stoner movies to come out of Philippine cinema anytime soon, as it won't happen. We are too traditional to even attempt to use drugs or drug-related humor in our entertainment. Sad but true.

Anyway, critics have been calling Pineapple Express as the Cheech and Chong of the new millenium. It's about time Hollywood veered away from the stereotypical Mexican pothead to the more politically correct stoner─someone from everyday life. Seth Rogen (who co-wrote the screenplay with Evan Goldberg) plays a process server here (one who summons people to court) who, incidentally, is a pothead. James Franco, on the other hand, abandons his pretty boy-image and plays the drug dealer with such finesse that he was actually nominated for a Golden Globe for his performance.

The story starts out as an ordinary stoner flick, where we viewers are bombarded with images of weed, weed, and nothing but weed. So the real potheads in the audience will either have smoked some shit before watching, or will not be able to wait to roll one and blaze it up. Anyway, as the movie progresses, it starts to leave the path of the pure stoner flick and becomes more action and buddy-oriented. But the humor, drug-related or not, is consistent, which is what I would've expected from any comedy produced by Judd Apatow.

Pineapple Express, sadly, did not make a regular theatrical run in local cinemas. Distributors probably thought that movies like this will only click with the rebellious crowd, which is only a small percentage of our not-so-liberated movie-going countrymen. Anyway, they should've looked past that and invested in it not because it's a weed movie, but because James Franco is in it. So just catch it on DVD. At least you potheads can get to roll one and light it up while you're watching it at home.


Rating: Four stars.

Oasis. Dig Out Your Soul

Hooray for Brit rock!

Christmas time once again, and it's time for the traditional exchange gift, which is just a glorified way of buying yourself your own gift. This year though, no one's complaining, as my brother got for himself Oasis's new album Dig Out Your Soul. Well, it's not really brand new (it came out late September), but it is their latest one this year.

The thing with this album is their sound has evolved (as should all bands), yet the only disappointing thing is that there are only eleven songs. There still are heavy guitar riffs, and this time Noel Gallagher doesn't hold back on the electronics, sprinkling heavy doses of it, especially on my favorite track, "The Shock of the Lightning" (oh man I love this song). Still heavily Beatle-influenced, the eleven tracks are not penned by Noel alone: three tracks are by his brother Liam, while the other musicians Gem and Andy Bell share one track each, which adds to the diversity. Zak Starkey (first-born child of that cute Beatle Ringo) plays drums on all tracks except the last track.

British bands rarely disappoint, as they are not as musically limited as the American bands, willing to experiment more with new sounds and new directions. Let me warn you though, that this album is nothing like (What's the Story) Morning Glory?, if that's the kind of Oasis sound you're looking for. It's 2008, for crying out loud. This is the new Oasis, and this is their new sound.


*Warning: Track 4, "The Shock of the Lightning," gets better the more you listen to it. It takes several listens before it hooks you, but once it does...



Rating: Four and a half stars.