Thursday, August 31, 2017

Can I Say - the extraordinary life of Travis Barker

book review
 
Book: Can I Say: Living Large, Cheating Death, and Drums Drums Drums
Author: Travis Barker (with Gavin Edwards)

Travis Barker has had an extraordinary life, and it is also quite extraordinary that he is still alive. Not only has the American drummer survived a plane crash, but he has also done just about every reckless thing that you can possibly think of, all of which he talks about in his memoir Can I Say, a candid look at the first four decades of the musician’s life.

The percussionist’s passion for drumming takes center stage throughout the book. Barker’s childhood hero was Animal, the “pure primitive orange insanity” on The Muppet Show, and at age 4, the youngster already knew what he wanted to do with his life: he wanted to be a drummer. He had received a tin drum from his parents on his first Christmas, and subsequently got a full set of drums on his fourth birthday as his parents had started realizing his nascent talent. Drumming lessons helped him hone his skills, and his mother’s encouragement helped him pursue the activity and turn it into a career; one of the last things she said to him before her death when Barker was 13 was to continue playing the drums and follow his dreams. “Keep doing it,” she told him, “no matter what anybody else says.” And he did.

In junior high, Barker joined his first rock band, Necromancy, and subsequently joined and formed a number of groups, most of which did not have any considerable success or last very long. His luck turned with the punk rock band Feeble in the early ‘90s, followed by the ska punk group The Aquabats in 1994, and finally the pop rock outfit Blink-182 which he joined in 1998. Mark Hoppus and Tom DeLonge recruited Barker after they fired their previous drummer, leading to the Blink-182 line-up that would find massive success following the release of 1999’s Enema of the State. A string of hits made the outfit one of the most popular pop punk acts of the time, propelling them to international fame.

This recognition as well as his reputation for being one of the best drummers in his field subsequently gave Barker the chance to pursue several other projects – including Box Car Racer, +44, Transplants, and TRV$DJAM, all of which are mentioned in the book – and perform with a number of artists from various different genres, as well as establish his clothing line, Famous Stars and Straps, which was inspired by his passion for “skateboarding, BMX, cars, tattoos, rap, metal, [and] punk”.

But while his determination and dedication helped him achieve his childhood dream of becoming a successful drummer, his addictive personality has also caused him a handful of problems behind the scenes. “Everything in my life that I’ve ever had, I wanted in abundance,” Barker writes, and the impact of this statement is visible throughout Can I Say. “If I like something, I get addicted to it,” he states, and his many vices have included drugs, drinking, smoking, and pills; his addictions and slow recovery are chronicled in this book. He also writes repeatedly about his countless sexual encounters, and discusses his two failed marriages – first to Melissa Kennedy, second to Shanna Moakler (with whom he has two kids, Landon and Alabama, who clearly mean the world to him) – although the way he talks about women comes off as disturbing and at times even disrespectful, and the frequency with which the topic comes up starts to get tiring and off-putting.

There are also testimonials from his friends and family members throughout the memoir that add more context to his tales (like when Hoppus and DeLonge share their thoughts about the group’s falling out, for instance) and – when they aren’t being overly flattering – are a nice touch.

The highlight of the book, though, is his harrowing account of the 2008 plane crash and its aftermath. The incident claimed the lives of four people on board, including two of his closest friends; the only other survivor – Adam Goldstein, a.k.a. DJ AM – died less than a year later from a drug overdose. Barker – who was always afraid of flying – writes about the chilling experience and its consequences: he was left with third-degree burns on 65 percent of his body and broke his back in three places; required 26 surgeries; and suffered from post-traumatic stress, survivor’s guilt, and suicidal thoughts. His account of the gruesome ordeal makes for tough yet riveting reading.

The drummer’s life is so eventful and unusual that it automatically makes his book fascinating, but Can I Say – which was co-written with Gavin Edwards – could have been better organized. There are parts of it that feel repetitive, and sometimes the book just jumps around from topic to topic. Still, the biography is chock full of information about Travis Barker and his many musical projects, and fans of rock music – and obviously Blink-182 fans in particular – are likely to enjoy this volume.

- Sameen Amer

Instep Today, The News - 31st August, 2017 *

Friday, August 25, 2017

Baby Driver - an offbeat heist caper

movie review 

Baby Driver 

Starring: Ansel Elgort, Kevin Spacey, Lily James, Eiza González, Jon Hamm, Jamie Foxx, and Jon Bernthal
Director: Edgar Wright
Tagline: All you need is one killer track.

When most filmmakers seem content with retreading familiar ground and sticking to tried and tested formulas, it is refreshing to see someone try something a little different. That’s what British director Edgar Wright has done with Baby Driver, a heist caper that plays out against the backdrop of near-constant music.

Based on an idea that the director came up with over two decades ago, the film follows the tale of a getaway driver, nicknamed Baby (played by Ansel Elgort), who listens to nonstop music in order to mask the ringing in his ears which he has had since being involved in a car accident that killed his parents when he was a child.

Baby works as a getaway driver for a rotating crew of rag-tag bank robbers led by Doc (Kevin Spacey), but hopes to leave behind his dicey past after performing one final heist and paying off the debt he owes to Doc for stealing one of the kingpin’s cars. But his escape from the criminal world is short-lived when he finds himself being threatened by Doc and coerced into returning for another heist.

Things don’t go quite as planned, leaving Baby to figure out how to escape his predicament and protect the people he loves – particularly his girlfriend Debora (Lily James), who is a waitress at a local diner, and his deaf foster father, Joseph (CJ Jones).

Baby Driver’s premise may not be very original, but it’s the offbeat execution and eclectic soundtrack that make the film stand out in the well-worn genre of crime capers. Wright has managed to give an old tale a new spin, and has made the project all the more impressive by coming up with well-executed action sequences coupled with good cinematography.

That said, the film, on the whole, isn’t nearly as exciting as one would hope. All too often, it feels like the filmmakers chose style over substance. The movie doesn’t really manage to transcend your typical action film clichés and stereotypes. Also, the female characters aren’t very well crafted. And Wright’s script can be downright corny – there are times when the dialogues are practically cringe worthy.

As for the cast, Elgort isn’t exactly the best choice for an action film lead and is a tad boring in the titular role. And while the supporting cast is terrific – Jon Hamm, Jamie Foxx, and Jon Bernthal play some of the members of the heist crews in the movie – their characters rarely get to do anything memorable in the film.

On the whole, the latest offering by the Cornetto trilogy mastermind is a fast-paced, well-made action flick that doesn’t quite have the depth to dazzle its audience but still impresses with its esthetics and visuals.

Rating: 3 out of 5

- S.A. 

Us Magazine, The News - 25th August, 2017 *

Sunday, August 13, 2017

Sorry Not Sorry - to Glee and beyond: the story of Naya Rivera

book review 

Book: Sorry Not Sorry: Dreams, Mistakes, and Growing Up 
Author: Naya Rivera

Say what you will about teen drama Glee, but you have to admit that the series was a terrific showcase for young talent. The musical comedy propelled a number of hitherto unknown performers to global fame, many of whom have continued their journey in the entertainment industry since the show wrapped up two years ago. Among its prominent alumni is actress Naya Rivera, who received praise for her portrayal of the acerbic Santana Lopez, but also gained attention for the drama that appeared to be surrounding both her personal and professional life during and after her time on the Fox series.

The actress has opened up about her struggles and triumphs both on- and off-screen in Sorry Not Sorry: Dreams, Mistakes, and Growing Up, a memoir that explores the salient events from her life, from her childhood to the present day.

Rivera talks about her beginnings as a child actress, starting with appearances in advertisements as a baby, and culminating in her first television role in The Royal Family at the age of five when her budding career hit a snag – the sitcom was cancelled after only one season following the death of its star, Redd Foxx (who suffered a sudden heart attack on the show’s set and passed away a few hours later). Despite getting a guest spot on The Fresh Prince of Bel-Air and a recurring role on Family Matters, the young performer couldn’t land any significant jobs in Hollywood during her childhood, and her acting career had effectively dried up by the end of elementary school.

The actress subsequently found herself struggling with anorexia and was misdiagnosed with depression. Her family also ended up facing financial problems, which further strained her parents’ – “aspiring model” mother and “surfer boy” father – rocky marriage, leading to their divorce when she was 17.

Despite a series of odd jobs – including telemarketing, waitressing, and working in retail – Rivera stacked up a huge debt at a young age that would eventually take her 5 years to pay off, and had almost given up on her acting dream when she was cast in Glee, a little show that would go on to garner massive attention.

She relays the experience of being a part of the series, and says the cast and crew were “just as close-knit and the dynamics just as messy as they were on-screen”. She touches up on her rumoured feud with Lea Michele, saying that they are both “strong-willed and competitive” which is not a good mix; fondly remembers Cory Monteith, expressing her heartbreak at his untimely, “unnecessary” death; and says she isn’t “totally shocked” about her ex-boyfriend Mark Salling’s current legal troubles.

Also discussed in detail is her well-publicised relationship with ex-fiancé Big Sean and the very public dissolution of their engagement, which was quickly followed by her wedding to Ryan Dorsey, who was her husband at the time of the writing of this memoir. Rivera gushes about Dorsey – with whom she has a son, Josey – and tries to depict her marriage in a very positive light even though the couple separated a few months after the publication of this volume.

As with most such books, Sorry Not Sorry is a light, quick read. The prose is simple, although that is to be expected – you aren’t going to pick up a celebrity memoir if you wanted to read quality literature. But the book is fairly adequately written, and the author manages to get her point across in an interesting, engaging way. Rivera comes off as quite candid in the memoir, especially when she openly talks about difficult or controversial topics, like her financial troubles, suffering from an eating disorder, decision to have an abortion, getting plastic surgery at the age of 18, and her identity struggles as a mixed race, “quarter-white, quarter-black, half-Puerto Rican” woman. But this memoir isn’t exactly a tell-all. There are several topics that Rivera could have discussed in more depth. Even when she talks about an issue – like her purported feud with Michele, or Ariana Grande’s role in her split from Big Sean – she doesn’t really offer any proper details. There are several other subjects she could have delved into; for instance, she could have talked more about her siblings or explained why her music career stalled and her debut album never surfaced.

And she could have definitely shared more stories from the set of Glee, since the show's fans are most likely to read and enjoy this slim volume. If you are not significantly impressed by the actress or her best known project, then there isn’t much in Sorry Not Sorry that will pique your interest. But if you’ve enjoyed her work and miss the musical comedy that made her famous, then this book will offer enough titbits to entertain you while inspiring you with tales about the actress’s life and career struggles.

- Sameen Amer

Instep, The News on Sunday - 13th August, 2017 *

Thursday, August 10, 2017

The Emoji Movie - utter nonsense

movie review 

The Emoji Movie 

Starring: T. J. Miller, James Corden, Anna Faris, Maya Rudolph, Steven Wright, Jennifer Coolidge, Christina Aguilera, Sofía Vergara, Sean Hayes, and Patrick Stewart
Directed by: Tony Leondis
Tagline: An adventure beyond words.

Every once in a while you come across a film that is so devoid of merit that it feels like it exists just so you can recommend it to someone you hate. That’s what The Emoji Movie is like.

Try as hard as you can to think of something positive to say about this cinematic mess and you’ll still draw a blank.

The story is downright nonsensical. An emoji named Gene (voiced by T. J. Miller), who lives in a smartphone that belongs to a teenager (Jake T. Austin), has one purpose in life: to make the “meh” face whenever he is called upon to make an appearance onscreen in a text or email. But while other emojis have no trouble maintaining their respective expressions, Gene can’t commit to his assigned emotion. When his multi-expressional tendencies show up onscreen and cause havoc in Textopolis, Gene is deemed a malfunction. After the ruthless emoji leader Smiler (Maya Rudolph) orders his deletion, Gene sets out on a journey to become normal, teaming up with the ignored Hi-5 emoji (James Corden) and seeking the help of codebreaker Jailbreak (Anna Faris) who herself wants to escape into the cloud where she can be free.

Or something.

It’s all utter nonsense. Don’t waste your time thinking about the story. The filmmakers clearly didn’t, so why should you?

The script is terrible. There is no humour on offer here; all lame attempts at comedy fall completely flat. There is also no excitement, no suspense. You’d think the writers would at least take the smartphone setting as an opportunity to deliver some commentary or insight into the world’s technology obsession, but no, that would have required effort, when effort is something that was clearly not expended on this film. This derivative mess is so devoid of originality, intelligence, and wit that it makes (the awful) The Angry Birds Movie look like a masterpiece in comparison.

The animation is unremarkable. The character design is underwhelming.

The voice acting is lifeless. T. J. Miller’s part could have been played by just about anyone else in Hollywood and it wouldn’t have made the slightest difference. James Corden’s delivery and character are both grating. The script is so dull that not even human sunshine Anna Faris can make it work. And if Sir Patrick Stewart – who voices the poop emoji in this film – hasn’t fired his agent already, then he needs to do so, stat.

Better animated movies deliver the same lessons more effectively. Young viewers are smarter than this film gives them credit for, and their parents should not have to suffer through mind-numbing dullness just because Sony wants kids to consume more of its digital hogwash.

So the next time you want to exact revenge on someone for an unforgivable slight, just make them watch The Emoji Movie and rob them of one and a half hours of their life. That’ll teach ‘em.

Rating: 1 out of 5

- Sameen Amer

The Express Tribune Blogs - 10th August, 2017 *