Monday, August 31, 2009

ed. Rich Balling, "Revolution on Canvas, Volume 1: Poetry from the Indie Music Scene"

No, this is seriously a book. Yes, it opens with some prose by William Beckett of The Academy Is..., and yes, you can imagine about how well this is going to go after that.

Well, sort of.

I don't know how long Lanie has owned this book, but I definitely chose to read it, thinking I could strap on my lollerskates and get a good laugh out of "what the hell, someone let Matt Rubano write something and then published it?"

(Sidenote: Anyone who knows me knows that at this time in my life, I am particularly obsessed with Taking Back Sunday. In which case you should also know that I get a lot of laughs out of making fun of Matt Rubano and how sexy he thinks he is. Ahh, Rubano. You are not even making the list of sexiness being in the same band with Matt Fazzi and Adam Lazzara, I hope you know. Just play bass, k? Just bass. But I digress.)

So I read the damn thing, even though it opens with William Beckett and I am an avid giggler at his prose, since I follow on the internet and I really just want to edit him, oh God.

Full Disclosure: I do not know half the bands in this book. Well, that's not entirely true. I know the names from being half-hipster, half-scenester, and from knowing all the lyrics to Gym Class Heroes's "Taxi Driver." I spend half my time gleefully horrified by Gabe Saporta from Cobra Starship, and Midtown are too depressing for my soul. My biggest fantasy in life is to see Something Corporate in concert. (Can you hear me, Josh Partington and Andrew McMahon? GET ON THIS.) So...

I was pleasantly surprised. I had previously been told that most of the pieces were actually lyrics, but most of the pieces being by gents I don't listen to effectively rendered that piece of information useless. (Most of the names I did recognize were prose, rather than poetry - Beckett, Justin Pierre of Motion City Soundtrack, Rubano. If Partington's were lyrics, I couldn't tell, because I don't actively listen to Firescape. I don't know enough Midtown to suss out Saporta. Tim McIlrath of Rise Against could've been lyrics, but not from any RA song I knew. And so on.)

It's not going to take you a lot of time to read this book. It might increase your indie cred if you read it. (And if you think so, allow me to laugh at you and say "ha ha, you're a giant loser worrying about your indie cred!")

I liked it enough to look up volume 2 on Amazon and buy it. Of course, it probably didn't hurt Volume 2's case that it's got Armor For Sleep listed for contribution.

But again, I digress.

It's a nifty book. Some of the things in it are genuinely interesting. Some of the things in it are pretentious crap, but that's how the scene rolls. Some of the things in it are "Death of a Male Hooker," and I don't even know sometimes.

Try it. You might like it. I was surprised that I did.

Lavinia Greenlaw - The Importance of Music to Girls

This was an impulse purchase that I made when Lanie and I were at an Urban Outfitters in Baltimore a few weeks back, the weekend before my birthday, I think. I picked it up because I liked the title, and because I liked what the back presented to me.

The book is Greenlaw's memoir, but it's so much more than that, as well, to someone who can define their life by music trends. Greenlaw grows from disco to being a hippie, to being a punk, and by way of these things discovers who she is as a person.

The book is easy to relate to, even though Greenlaw grew up in an entirely different era than I did. She has disco vinyl that she doesn't want to part with but is embarrassed to own. I have mp3s I try not to let get scrobbled to because they're a guilty pleasure.

(I'm not, however, fighting it quite as hard as Greenlaw. But then again, I'm much older than she was at this time - the book spans from when she is a child to seventeen or eighteen, then skips ahead to a quite poigniant chapter about the birth of her first child, the first boy she loved, and music.)

As I said, I can relate to this book. Music defines my world, much as it did Greenlaw's as she was growing up. I think anyone who is defined by music can enjoy the book, though it might be harder for a boy to understand than a girl. A lot of the book is about trying to fit in and find your place as a girl, changing yourself to be things you aren't because there's something or someone you want, or want to like you.

Impulse book buying can be hit or miss, but I feel like this one was definitely a hit, at least for me.

Thursday, August 27, 2009

Schism! at the Disco

I feel like I need to admit up front that I do not possess the ability to be anything but entirely, horribly biased about anything involving Panic! At The Disco or The Young Veins. I am firmly Team Exclamation Point, so take anything I say with a grain of salt.

That said, this was my first time listening to the track "Change" by The Young Veins. I had previously tried to listen to it a couple of times, but ended up turning it off. While it is still lurking on my computer, I don't plan on giving it much more listening, or much more thought. Harsh? Maybe.

I don't enjoy Ryan Ross's voice in large doses. When I initially got into the band, I was all for what he did as a vocalist - covering the lyrics that were overlaid with others, where Brendon Urie didn't have the physical ability to sing both parts. I was not impressed with his singing on Panic At The Disco's Pretty. Odd. In fact, I find that I am not fully enchanted by that sound, or the fact that it makes me feel like I'm trapped in the van with my dad and he's forcing me to listen to the oldies station. I just don't enjoy the sixties throwback sound.

I think what bothers me the most about this track is Ryan's singing. I actually enjoyed the guitar in some parts, despite my dislike for the general sound. Ryan Ross's voice is just so devoid of any kind of personality. I feel like his singing voice is just as boring and monotone as his speaking voice. This is a kid that has zero charisma with which to work the frontman angle. But by God! He's going to try!

Also, yelling "change" over and over at the end? GTFO with that, it's not even cute.

I'm not saying that Panic! At The Disco's "New Perspective" is a work of art or anything like that by any means. But I am going to say that I enjoy Brendon Urie's voice vastly more than I ever will Ryan Ross's. He's what brought me to the band, and he's what's keeping me with them. Part of it is that I enjoy being able to sing along with songs. I can't imagine ever singing along with "Change," because being monotone isn't fun. It's kind of why you listen to and enjoy Oasis, but you don't really sing along. "New Perspective," however, I'll gladly sing along with. I'll probably even shout the lyric "can we fast forward til you go down on me" or whatever it is. It makes me giggle, and it's great. I'm trashy, what can I say?

Another difference I'd like to point out is that I could only understand about every other word Ryan Ross was singing, anyway. I have no idea what "Change" is about, because I couldn't understand most of the words. And I grew up listening to Hanson, and I do love Fall Out Boy, so I am well-trained in understanding slurs of speech and mushmouth. But I appreciate Brendon's ability to, you know, enunciate so that I can understand him. YAY!

A compliment I can give: Ryan's voice has improved from what it was when they started. I'll give him that much. It's just, there wasn't a lot of room for improvement, because he's just not that good. Brendon, too, has improved. He's gotten smoother, and he sounds less like Patrick Stump and more like his own person. Which is cool.

In conclusion, I have no use for bands who are stuck in the sixties. I'm not down with that. If you wanna do a throwback, give me at least some hair metal and glam rock. At least Brendon Urie's obliging my horrible taste by covering Journey on the Blink-182 tour.

Although I'm sure Ryan Ross couldn't give a rat's ass for anything I say. He'll just snort some more coke and go on about his day like he thinks he's awesome. And that's cool, too.

- Julie

Coming from a more emotionally unattached place than Julie up there, I have significantly less to say about the Schism! at the Disco.

My first listen to The Young Veins' single "Change" didn't impress me much at all. I was tired of The Beatles' references by the time I finished my first listen of Pretty. Odd. and for a song called "Change," I found it sort of ironic that Ross hadn' all. Fine, he found a niche. He latched on. All well and good for him. However, he may have been one of the last people on the planet to go "OMG The Beatles are awesome!" If Walker was any bit wiser, he didn't bother reigning his partner in crime in at all. There's a difference between inspiration, looking up to a band and completely ganking their style...and then adding an organ. What? Churchy Beatles? What are they going for here? I cannot tell at all. I'm interested to see where they go with this but in a completely rubbernecking kind of way, not in a way where I'm actually excited to hear the music. It's not violently bad, which is more than you can say for a lot of other bands out there, cloning their influences.

The remaining members of Panic! seemed to have failed to grow as well. I'm going to say this is not a bad thing, since it looks like they've turned themselves around to the weird, vaudevillian, pop-hook-laden sound that made them distinctive in the first place. Panic! were weird. They were strange and charming and radio friendly but not annoyingly so. There is nothing wrong in the world with a good pop song and a few dirty references thrown in because 90% of the world is secretly 12 inside and we enjoy a good giggle. "New Perspective" is a fun tune with a great pop sound. That's all I really have to say. It's just that simple.

- Lanie

Monday, August 17, 2009


This movie was everything I didn't know I wanted it to be.

I have been excited about this movie for months. I was convinced that the ribbon on her neck was alluding to a folk legend, where a woman wears a ribbon around her neck her whole life, then either a prankster unties it or she allows her husband to remove it at the end of her life and her head falls off. It's totally ridiculous and totally great. This movie is not about that at all. I couldn't really see how you could get a whole movie out of such a silly legend but movies have been made about more ridiculous things and I was determined to hold out hope.

I was disappointed about 20 minutes in when I saw that she also wore ribbons around her wrists. My theory was totally busted and I came up with a new one, which ended up being right and this is why you go see movies with friends; so you can whisper your theories in their ear and totally ruin the ending. Also, you can talk smack about what everyone's wearing. At least, this is what we do in movies, I don't know about the rest of you people.

Spoilers are lame so I'm trying to figure out what else to say about this movie without either totally recapping it because I was so juiced about it (I promise never to say that again) or giving away vital pieces. I think it's safe to say that she is just not. right. Given that one of the taglines for Orphan was "there's something's wrong with Esther" other than her wardrobe, obviously...I don't feel like I'm giving anything away.

I will say that I am really enjoying this whole horror movie-as-comedy thing that seems to be becoming more and more popular. I'd place this one in the "so fucked up it's funny" category, as opposed to the "so lame it's funny" or "parody comedy" categories. It's not Scary Movie: Creepy Kid Style (please, no one make that movie) but there are genuine comedic moments, alternating with ones that are so screwed up and those that keep you on the edge of your seat. It blended true gross-out moments where I honestly had to look away, with profanity (which I love!), with just a little dash of mind-fuck.

If you like to have a good time, go see Orphan. If you consider yourself a horror movie connoisseur and are tired of the conventional horror flicks, you should probably sit this one out. It's not going to change your world, but I had a damn good time anyway.

- Lanie

Ignore what Lanie said about sitting this one out if you're a horror movie connoisseur. I am, and I loved this. Sure, it wasn't strictly my type of horror flick (I'm more of a Kruger, blood-guts-and-gore girl myself, but hey), but it was good.

Full disclosure: I knew the plot twist when we went into it. A couple of weeks ago, I read the synopsis on, I think, Jezebel. So it was with a lot of trepidation that I went into the movie, thinking that it was going to be entirely ridiculous. Like Lanie, without knowing about Esther's wrist-ribbons, I had thought of a "folk tale" -- more like a scary story -- that I'd read in the past. (I actually looked this up, and it's from the The Scariest Stories You've Ever Heard series, and involves a family meeting a father wearing a necktie and a daughter wearing a ribbon... then later the mother who admits she accidentally ran them over with her car and severed both their heads...)

Now, I enjoy Dark Castle's flicks. My personal favorite is Ghost Ship, and no, I don't say that just because I like to make heart eyes at Karl Urban (although it doesn't hurt...). In fact, we'd watched Thirteen Ghosts the night before (it was my birthday, I got to pick the movie - Lanie was very confused, but I think it was because she wasn't really paying attention). So when I saw the Dark Castle logo come up, I was like, ooh, they do good stuff.

I also don't go into a horror movie expecting to be scared. I feel like, the worse the movie, the cheesier it is, the more I'm going to enjoy it. (I love the A Nightmare On Elm Street series, for Christ's sake!)

I was pleasantly surprised by this movie. Yes, it was batshit crazy. Yes, the twist was fucking ridiculous, but oh. my. God, they pulled it off with flying colors. We were in a full theatre, which in the past would have been a dismay, because I always associate full theatres with people who won't stop talking and little kids kicking the back of my chair, but this one involved people cheering, yelling, and clapping, and it was excellent.

If you enjoy a good, entirely implausible, ridiculous horror flick, I recommend it. It's not in the vein of so-bad-it's-good, but it's actually good. You should go see it.

- Julie

Saturday, August 15, 2009

The Cab @ 9:30 Club, Washington, DC 7/28/09

Support: Eye Alaska, The Summer Set, Rocket to the Moon, My Favorite Highway

First of all, let me just say: WHEW. Four opening bands is not my cup of tea, I'd just like to add that disclaimer now. That, coupled with my annoyance at an episode of The Real World: DC being filmed sometimes just feet from our heads as we watched the show, cast a negative light over the whole concert for me. You can take my complaints with a grain of salt.

First off, Eye Alaska took the stage. Should we forget the name or misunderstand it, the singer helpfully pointed to his eye each and every sing time he said the name of his band during their all-too-long set. Normally, I like to pretend that the outside world doesn't exist while I'm watching a concert. For better or for worse, I want to experience the glory or the suck. This time, I couldn't do it. About five minutes in, I whipped out my phone and wrote (nearly all of) the following: "Greenwheel + Beastie Boy wannabe band that doesn't have enough practice being on the stage. The singer is back and forth enough on the stage to make you think you came to watch ping pong instead of to rock out. He came onstage eating an apple and wearing a backpack. Fitting. He should, perhaps, go back to school. This may be highly offensive to Greenwheel, who I loved and are/were much more talented than this bunch, but there was something about the phrasing of Eye Alaska's songs that reminded me of them. It's not my style and maybe they do have some potential but they didn't make me interested enough to follow them and find out.

The Summer Set had a girl drummer. We found this totally and completely endearing (and not in a condescending way, please don't think that). On a night full of dudes everywhere, it was just a nice change. They had a fun, upbeat sound. I'll keep an ear out for more of their stuff. Because I was imagining a bunch of Rock Band drumming fantasies coming true as the drummer head banged her way through their set, I'm not sure I paid attention to too much else. Two weeks later and this is the only thing that stands out in my memory.

What can I say about Rocket to the Moon except that they seemed to take themselves very seriously? Oh, nothing. I did note that their sound reminded me of the pseudo-rap phrasing of Third Eye Blind but I would not remember this band at all if you asked me about them.

My Favorite Highway is a local band I'd never heard before and if this concert was anything to judge by, I may have been the only one. Out of Fairfax, Virginia, they stepped out on stage, greeted the Virginians, then remembered that they were in DC and threw shout-outs to DC and Maryland as well. They were decent. That's not meant as an insult. They were solid, not too much rock or too much pop...great blend of both. They seemed like a less boring Lifehouse but maybe Lifehouse is less coma-inducing live. I wouldn't know. Their debut album came out this past May and I'm interested to see where they go from here. I'll definitely be checking them out. Half the crowd from the floor left when they finished their set, though most seemed to come back by the next time the lights dimmed.

Finally, we got to The Cab. If you enjoy them, you'd enjoy the show. They had great energy and I do enjoy the vocal acrobatics of Alex DeLeon. This performance would have been perfect pop music joyfulness if not for the interruption of one of the Real World roommates halfway through their set. Introduced as Alex's friend (he came out to meet the cast members before anyone took the stage that evening, in the balcony by the lead-act dressing/green room, a small bit of chaos and autographs ensued), she took the stage, sang an annoying, really repetitive song about a guy. We waited through four acts to have the short headlining set interrupted by some Real World chick? That killed the mood for me. I also have to mention the sound troubles, which I have to say are not that uncommon at 9:30 Club. Whenever there is jewelry, a lot of acts or a lot of microphones involved, there tends to be a lot of high-pitched interference, more and more as the night goes on. This night was typical for that. Maybe The Cab are too young or too nice to say anything (I have witnessed a Butch Walker stop-the-show diva move to fix the sound before) but I wish they had. Nothing is a mood killer like mic feedback during your zestiest pop hit. Yes, I think I just made up a word.

To sum up: The Real World ruins everything

- Lanie

I just want to start this by saying that my experience with the Cab prior to this show is seeing them play a Queen cover set at Hoodwink and a teeny set from way-far-back at The Bamboozle this past May. Prior to that, I had a hard time even listening to them because of the Justin Timberlake/JC Chasez mashup sound of Singer's (Alex Deleon) voice.

Secondly, I'd like to state that I took a face full of spotlight thanks to the Real World's cameras. Fuck you very much, Real World D.C.

Okay, so, I hoofed it over from the metro after work, and got in the line, which we never thought we were going to get in. We proceeded up to the balcony and I proceeded to get a drink. I don't know if it's a testament to how much I didn't enjoy Eye Alaska (where DID that apple go, anyway?) that I was actually willing to go and get a second drink mid-set, but I sure did. They were easily the worst band of the night. And the kid's backpack drove me fucking crazy. Seriously. Get some stage presence and ditch your backpack, doofus. The best part was the drummer for The Cab coming out and playing with them, and me getting to watch two drummers move in unison. Now that was fun. Woo.

The Summer Set and their cute girl drummer were the second best opener of the night, after My Favorite Highway (who I'll talk about shortly). They were the kind of nondescript pop that I enjoy in the background of my metro ride when I can manage to listen to something besides Taking Back Sunday oh, ever. (FML.) I didn't hate them and my friend Crystal (via Twitter) suggested that we go meet them after the show, being as they were stand up folks when she met them. Lanie and I did not do this, because we're old ladies and it was time to go home and go to bed after the show.

I knew exactly one Rocket To The Moon song when I went into this show. I have their little "Greetings from..." postcard because it sneaked into one of my packages from Fueled by Ramen at some point in my life. (I think it was when I got Forgive Durden's Razia's Shadow, but search me, if anyone cares.) Anyway, I know one song because "Dakota" was on the CFOB Mixtape and... they played it, like, two songs into their set. So after that I kind of got bored because I seriously only have room for one shitty pop-punk band in my life, and that is We The Kings, so step, motherfuckers!

I enjoyed My Favorite Highway in the way where they look/sound like Hanson from really far away without actually having the embarrassment of being Hanson. Also I've been listening to them since that show and I quite like them. Their singer was the first kid to go on that stage that had any kind of stage presence at all, except for Alex Deleon coming out to sing with I think A Rocket To The Moon. I can't remember, I'm old and I've had a lot of drinks since then. (It was my birthday weekend!)

So, I need to get this off my chest. I think Alex Deleon is adorable and I want to fold him up and keep him in my pocket. I follow him on Twitter, we squee at him on pretty much a daily basis in a motherly type of manner. (Old, did I mention I'm old?) Anyway, I tried to mooch cake from him while we were there and got ignored, presumably because he has approximately 5 million people on his Twitter, but whatever I made the mistake of not offering to buy him a drink in exchange. (Not that I am pro-contributing-to-the-delinquency-of-minors, or anything.)

Anyway, they were enjoyable. I enjoyed them. There were feedback problems but it was so much better than the show we saw at Sonar that now I just think "well, at least it was better than Sonar" and leave it at that. Uh. Oh, he said he'd play two more songs if we broke it down during "Disturbia" but apparently we weren't into it enough for him so we only got one more song, 'cause Singer's a liar.

And dude. Dude. Fuck the Real World. Why the hell is that girl getting in on this shit? I can almost guarantee that she didn't know Singer before that night but she was trying to make nice.

RW hasn't been good since the Hawaii season anyway, MTV, just give it up.

- Julie

Friday, August 14, 2009

Head Automatica @ The Black Cat, Washington D.C. 7/24/09

So, this was my first time seeing Head Automatica, and their opener, Cubic Zirconia (or Zerconia, I am not sure). I started the evening by getting REALLY DRUNK at the bar downstairs at the Black Cat, but was unfortunately too sober to handle Head Automatica and Daryl Palumbo's over-enthusiastic crotch grabbing. Not to mention we were WAY too close to the stage. As in, between sets I was sitting on the edge of it. Which meant that a) Daryl's crotch grabbing was less than a foot from my face and every time he leaned down I had to lean back and b) Lanie almost took the neck of the bass guitar to her head.

Cubic Zirconia are fronted by an entirely adorable black girl who was jiggling around barefoot and having to hoist herself back into her dress between every song and I wanted to take her home and make out with her. I'm shallow, what can I say. Todd Weinstock, formerly of GlassJaw, is in this band. He has ugly hair and makes weird faces. Their single is called "Fuck Work" and Lanie says it's really terrible on their Myspace but it was kind of a blast live. Or I was drunk. One or the other or maybe both.

Head Automatica were.... not what I was expecting. First of all, Daryl comes out in a plaid shirt and loafers and an old man cardigan and a fucking ... fucking... I don't know, some really bad hair, and he's drunker than I am. And he grabs his crotch. LIKE A LOT. An Unbelievable Amount. I've seen crotch grabbing before. I enjoy Cobra Starship. I was not ready for this. Not to mention I've seen his n00dz and I knew exactly what what he was grabbing looked like and oh God.

They played a bunch of new songs, which is a blower because nobody knows them because the album isn't out yet and it's kind of a fun suck at a show to just hear a bunch of songs you don't even know. They only played half of Young Hollywood, which was weird. Their encore was Solid Gold Telephone, and by that time I was too sober to handle what was going on anymore and I just wanted to get as far away from Daryl as the room could let me.

In conclusion: if I see Head Automatica again, it will be from farther away and I will spend the whole time drunk, not just part of it.

- Julie

Having previously experienced the crotch-grabbing of Head Automatica and Cubic Zirconia's music through their myspace (cubiczirconiamusic), I went in with a lot of expectations. Cubic Zirconia was going to be painful and Head Automatica was going to incite riots and, yes, a grabbed crotch would be in my face the whole night. However, I had no idea that Glassjaw's former guitarist, Todd Weinstock, was going to be playing with CZ. I can't say for sure whether he made their music more entertaining (he pulls a lot of faces when he plays) or they are victims of overproduction but I will say that they did not suck live at all. "Fuck Work" was a lot longer than the version posted online and it was a hell of a lot better. Tiombe Lockhart, the lead singer, was every bit as adorable as Julie said.

When Head Automatica took the stage, I was a bit floored. It was evident between their first and second albums that their sound had softened, taking on a more conventional pop sound, rather than the aggressive dance pop that they had when they started. Also, the last time I saw Head Automatica, the band was brand new and faithful Palumbo fans were still fresh off the breakup of Glassjaw and the release of HA's Decadence, ready to rock out, thrash around and mosh along with the music. I went home with bruised lungs that took a couple days to recover. At this show, there wasn't even a barracade. Things would be more subdued, that was obvious. If it wasn't clear to everyone, it would be by the time that the band took the stage. Daryl was dressed in something that a respectable grandfather might wear. I had no idea what we'd gotten ourselves into.

In concert, Head Automatica is a little more improvisational than you might think, given the sharp rhythm that most of their songs have. Daryl does not stick strictly to the melody or cadence of the songs which, depending on your desire to sing along, either offers a fresh sound or ruins a nice night of group karaoke. Between the style the music took on and the fact that they played so many new songs that meant the audience could only shut up and listen, it was obvious why this concert took on a much more subdued quality than previous shows may have had. The band was energetic, but not aggressive. I was sort of amazed that any amount of rocking-out could happen but "The Razor" was just as great as the first time I heard it, as was "Beating Heart Baby" which got a great crowd reaction. The rest of the audience (that I could see on the other end of the stage, while rocking-out plenty myself) seemed to share my enthusiasm.

The single-song encore of "Solid Gold Telephone" was...fucking weird, I can't lie. It was a strange mid-tempo choice for an encore but given the tone of the rest of the show, I can understand the choice. I left the show satisfied but not sweaty, extremely happy but not blown away. Maybe I had the wrong expectations, or maybe I just wish I knew more of the songs that they played so I could appreciate them properly.

- Lanie

Harry Potter and the Half-Blood Prince.

As Lanie said, this movie is great if you're a fan of the movies and you've never read the books. If you have read the books, well...

Look, it's not the most faithful adaptation in the series, but it's a damn sight better than Order of the Phoenix was. It did not have the big "what the HELL?" moment like Order did, so that's A+.

As far as the movie itself is concerned, yes, it is somewhat of a romcom in the way past Harry Potter movies haven't been. However, in its defense, the source material is much more romcom than previous books, too.

Now, what do I have issues with, as a fan of the books? Well, the Kreacher/Dobby fistfight is missing. In fact, these two characters have been so downplayed by the movies (they've been left out of HBP entirely now) that I'm not sure how well Deathly Hallows is going to work out at this point, and since that is by far my favorite book in the series, I'm nervous. But I digress.

My main beef with the movie: Why is the death/funeral of [Spoiler] so damn rushed? What's up with that, you guys? It's like, romcomromcomromcom for two and a half hours, then CONFLICT! then DEAD! then END. There's not even the first battle of Hogwarts, which, um, hello! The ending of this was weak.

If you can ignore all of the flaws of being a book-turned-movie, it's good. I didn't need a second viewing to not hate it this time, so points for it!

- Julie

(PS: But what the fuck is up with Narcissa Malfoy's hair in this? BLONDE, SHE IS POINTY AND BLONDE. Why is her hair two-tone? This bugged me for that whole scene.)

Wednesday, August 05, 2009

Harry Potter and the whatever it is this time...

(A very un-scientific Harry Potter and the Half-Blood Prince review.)

If you like Harry Potter MOVIES, you will like this. It doesn't really stand out from the crowd except for a few incidences where their hormones seem to be catching up with them a bit, but Harry Potter movies are generally good so if you like them, you'll have a good time. That is, unless, you have ADD or a short attention span. This one is long.