b i o n i c
03-30-2006, 06:54 PM
Here's the article link: "http://seattlepi.nwsource.com/movies/264956_awesome31q.html"]
He isnt the one who wrote the review, but email his boss...
williamarnold@seattlepi.com
you can also try the author, but im guessing his email address is billwhite@seattlepi.com (i couldnt find his email address)
most of the reviews have been on point... this dude is part of the minority and what he said slightly pissed me off sorta. now i dont expect anyone to take a lot of time from their day, but give 'em a piece of yer mind.... here's the article
Don't buy the hype: Beastie Boys' 'Awesome' doc fails to live up to its title
By BILL WHITE
SPECIAL TO THE P-I
There are 50 people who will want to see "Awesome; I ... Shot That." They are the fans who were handed Hi-8 cameras to shoot the Beastie Boys' concert at Madison Square Garden on Oct. 9, 2004. (WHAT A DICK!) Although the movie is awash in the muddy grain of wavering audience cams, director Nathanial Hornblower relies upon several fixed cameras to prevent motion sickness in the unlucky viewers.
MOVIE REVIEW
AWESOME; I ... SHOT THAT
DIRECTOR: Nathanial Hornblower
DOCUMENTARY
RUNNING TIME: 90 minutes
RATING: R for language
WHERE: Neptune, Pacific Place
GRADE: D
(TOOL!)
Hornblower is a pseudonym for Adam Yauch, aka MCA of the Beastie Boys. He also is responsible for most of the group's videos. The sequences in which he is featured at the turntables, shot at a low angle by the crew's surveillance cameras, offer the film's most involving moments. The footage from the fans is too far removed from the stage to draw one into the performance.
Furthermore, the visuals are rarely in sync with the music's rhythms, and often cut away from the show entirely, for no greater purpose than to follow concertgoers through the arena's outer corridors where they buy beer and use the restrooms.
At times, the editors emulate the style of lateral cutting used by Lars Von Trier for the musical sequences of "Dancer in the Dark," for which he reputedly used 100 cameras. Capturing the same image from similar points of view in slightly different compositions and focal lengths is an effective way of showing how the slightest change in perspective alters the way a concert is viewed by audience members.
For the most part, the film is a chaotic blur of disconnected movement that re-creates the feeling of an unforgettably bad concert experience.
All of this might have worked had the sound been exceptional, but it is not. Neither are the performances. With the exception of six songs from the band's 2004 release, "To the 5 Boroughs," most of the concert material was drawn from the mid-'90s. Ten years on, it is not even old school; it's just history.
He isnt the one who wrote the review, but email his boss...
williamarnold@seattlepi.com
you can also try the author, but im guessing his email address is billwhite@seattlepi.com (i couldnt find his email address)
most of the reviews have been on point... this dude is part of the minority and what he said slightly pissed me off sorta. now i dont expect anyone to take a lot of time from their day, but give 'em a piece of yer mind.... here's the article
Don't buy the hype: Beastie Boys' 'Awesome' doc fails to live up to its title
By BILL WHITE
SPECIAL TO THE P-I
There are 50 people who will want to see "Awesome; I ... Shot That." They are the fans who were handed Hi-8 cameras to shoot the Beastie Boys' concert at Madison Square Garden on Oct. 9, 2004. (WHAT A DICK!) Although the movie is awash in the muddy grain of wavering audience cams, director Nathanial Hornblower relies upon several fixed cameras to prevent motion sickness in the unlucky viewers.
MOVIE REVIEW
AWESOME; I ... SHOT THAT
DIRECTOR: Nathanial Hornblower
DOCUMENTARY
RUNNING TIME: 90 minutes
RATING: R for language
WHERE: Neptune, Pacific Place
GRADE: D
(TOOL!)
Hornblower is a pseudonym for Adam Yauch, aka MCA of the Beastie Boys. He also is responsible for most of the group's videos. The sequences in which he is featured at the turntables, shot at a low angle by the crew's surveillance cameras, offer the film's most involving moments. The footage from the fans is too far removed from the stage to draw one into the performance.
Furthermore, the visuals are rarely in sync with the music's rhythms, and often cut away from the show entirely, for no greater purpose than to follow concertgoers through the arena's outer corridors where they buy beer and use the restrooms.
At times, the editors emulate the style of lateral cutting used by Lars Von Trier for the musical sequences of "Dancer in the Dark," for which he reputedly used 100 cameras. Capturing the same image from similar points of view in slightly different compositions and focal lengths is an effective way of showing how the slightest change in perspective alters the way a concert is viewed by audience members.
For the most part, the film is a chaotic blur of disconnected movement that re-creates the feeling of an unforgettably bad concert experience.
All of this might have worked had the sound been exceptional, but it is not. Neither are the performances. With the exception of six songs from the band's 2004 release, "To the 5 Boroughs," most of the concert material was drawn from the mid-'90s. Ten years on, it is not even old school; it's just history.