(Courtesy of Overture Films)

Rating: 3/5 stars
Directed by: Grant Heslov
And starring: George Clooney, Ewan McGregor and Jeff Bridges

The pitch: Bob Wilton (Ewan McGregor) is a journalist in over his head when he decides to go to Iraq during the earlier stages of the invasion. While waiting to cross the border, he meets Lyn Cassady (George Clooney), who is also on his way to Iraq on a super-top-secret black ops mission. Cassady claims to have been part of the New Earth Army, created by army hippie Billy Djanjo (Jeff “The Dude” Bridges) 20 years earlier. This section of the Army was trained in mental combat to see if love and peace can win wars. The answer is no, but we see through multiple flashbacks that the group still tries to become “the first superpower to develop super powers.” The narrative then continues to showcase Cassady and Wilton floundering in the desert, constantly lost and getting captured multiple times. Cassady’s rival Larry Hooper (Kevin Spacey) appears midway though the film, helping in its lack of conflict.

The good: Some moments showcase absurdity at its best. In the opening, for example, a commander runs full force into a wall in an attempt to go through it. Clooney is another high point, who, even when insane, is as smooth as ever and anchors the film. Being a dork could be the coolest thing ever. McGregor has some of the best lines, utilizing his innocent eyes for making lines like “What is a Jedi warrior?” almost go unnoticed. Because nothing he would know about that!

The bad and the ugly: The movie does not have enough steam to last its entirety, even though it comes in at only 93 minutes. The underhanded, deadpan jokes start off funny but are not enough to cover up the weak narrative, which tails off just when you expect it to finally culminate in something.

The bottom line: The film is powered by its actors and worth seeing for their battle of wits. The viewer is kept in good humor throughout, but nothing is accomplished or really happens. The satire could be pushed further, and the gags could be more outright funny instead of subtle. The film comes in as groovy but not far out.

The middle of the album is more reminiscent of Muse’s past work with some harder rock, but this is also where Muse’s borrowing becomes apparent. Muse has not been able to shake off comparisons to Radiohead since the group’s 1999 debut album “Showbiz.” So why Muse would decide to borrow from so many bands in “The Resistance” is beyond me.  The out-there “United States of Eurasia Collateral Damage” has stepped far into Queen territory, and I started singing ABBA’s “Lay All Your Love on Me” during “Unnatural Selection.” Bellamy told Spin magazine in the September issue, “We’d like to be remembered amongst the best bands in history. But we’ve got a lot of work to do.” I would love that to happen, but the borrowing is only increasing the work.

The album finishes with a three-part modern symphony, which Bellamy has been working on since 2006’s “Black Holes & Revelations.” It’s excessive and hedonistic, but also fantastic. This piano-driven “symphony” has a splendid combination of sweeping romantic strings, touches of Dominic Howard’s drums and Bellamy’s piercing, melancholy falsetto.

Muse should be commended for the chances they take with their music in trying to create something larger than their usual sound. Their control in their experiments is evident, but whether it succeeds is up for question. It could be deemed wildly brilliant and at the same time an unsatisfactory departure. If you have never listened to Muse and would like to, I would suggest starting with “Absolution” and “Black Holes & Revelations” to get a better sense of their overall sound, a sound that is soulful, liberating and ever maturing.

For fans of: Placebo, Killers, Franz Ferdinand
Tracks to download: ‘Resistance’ and ‘Unnatural Selection’

3.5/5 stars

Outstanding Drama Series

The Nominees:
‘Big Love’ | HBO
‘Breaking Bad’ | AMC
‘Damages’ | FX Networks
‘Dexter’ | Showtime
‘House’ | FOX
‘Lost’ | ABC
‘Mad Men’ | AMC

Should win: ‘Lost’

Can we give “Lost” some love, please? The show has been nominated numerous times but has not won the Outstanding Drama Series category since 2005, and the writers and creators deserve the award for the direction in which they have taken the show since then. Last season’s ingenious time-hopping brought “Lost” to a new science-fiction realm and opened up a world of possibilities in a way that seemed almost plausible. Sheer brilliance. As they enter the final season, everyone involved deserves some recognition.

Will win: ‘Mad Men’

Along with everyone else on the planet, “Mad Men” is one of my favorite shows, and the second season was absolutely phenomenal. They really hit their stride and made every episode even darker, smarter and funnier than the last. Plus, Peggy’s haircut truly revolutionized her character—and I’m only half-kidding. But they swept the ceremony just last year, and I just can’t get over the fact that there’s an episode in the new season that features blackface. Just for that, “Lost” all the way! – H.S.

Outstanding Comedy Series

Jack McBrayer as Kenneth Parcell and Alec Baldwin as Jack Donaghy in 30 Rock (Jessica Miglio | NBC Photo)

The Nominees:
‘Entourage’ | HBO
‘Weeds’ | Showtime
‘How I Met Your Mother’ | CBS
‘Flight of the Conchords’ | HBO
‘30 Rock’ | NBC
‘The Office’ | NBC
‘Family Guy’ | FOX

Should win: ‘30 Rock’

The sharpest half hour on television didn’t lose a step in its third season. That’s a good thing because comedies tend to hit their peak in their second seasons. “30 Rock” has the right stuff and cast to keep the good times coming.

Will win: ‘30 Rock’

This would make it a three-peat. Maybe they should rename the category, “Best Show That Isn’t ‘30 Rock.’” Give the other shows a chance, you know? – P.O.

Outstanding Lead Actor in a Drama Series

Hugh Laurie as Dr. Gregory House in the sixth season of House. (Florian Schneider | FOX)

The Nominees:
‘House’: Hugh Laurie as Dr. Gregory House
‘Dexter’: Michael C. Hall as Dexter Morgan
‘The Mentalist’: Simon Baker as Patrick Jane
‘In Treatment’: Gabriel Byrne as Paul
‘Breaking Bad’: Bryan Cranston as Walter White
‘Mad Men’: Jon Hamm as Don Draper

Should win: Hugh Laurie as Dr. Gregory House

Who doesn’t love a good scoundrel, especially one as endearing as House? Thus, I can’t help but want Hugh Laurie to win. Wouldn’t mind hearing one of his hilarious acceptance speeches too.

Will win: Jon Hamm as Don Draper

But I expect Jon Hamm to pick up the trophy, after being robbed last year. – C.W.

Outstanding Lead Actor in a Comedy Series

The Nominees:
‘The Office’: Steve Carell as Michael Scott
‘Monk’: Tony Shalhoub as Adrian Monk
‘Flight of the Conchords’: Jemaine Clement as Jemaine
‘The Big Bang Theory’: Jim Parsons as Sheldon Cooper
‘30 Rock’: Alec Baldwin as Jack Donaghy
‘Two and a Half Men’: Charlie Sheen as Charlie Harper

Should win: Alec Baldwin as Jack Donaghy

Alec Baldwin brought his A-game this season (then again, when doesn’t he?). Heck, he should get five Emmys for absolutely owning Generalissimo. NBC, I demand a spin-off, pronto!

Will win: Steve Carell as Michael Scott

Can you believe that Steve Carell has never won an Emmy before? C’mon, that can’t last. – P.O.

Outstanding Lead Actress in a Drama Series

The Nominees:
‘The Closer’: Kyra Sedgwick as Brenda Leigh Johnson
‘Brothers & Sisters’: Sally Field as Nora Walker
‘Saving Grace’: Holly Hunter as Grace Hanadarko
‘Damages’: Glenn Close as Patty Hewes
‘Law & Order: Special Victims Unit’: Mariska Hargitay as Detective Olivia Benson
‘Mad Men’: Elisabeth Moss as Peggy Olson

Should win: Elisabeth Moss as Peggy Olson

This first-time nominee acts with a wholesome modesty, ensuring empathy for her character.

Will win: Glenn Close as Patty Hewes

Glenn Close has it in the bag to win for a second year in a row. –C.W.

Outstanding Lead Actress in a Comedy Series

The Nominees:
‘The Sarah Silverman Program’: Sarah Silverman as Sarah Silverman
‘Weeds’: Mary-Louise Parker as Nancy Botwin
‘The New Adventures of Old Christine’: Julia Louis-Dreyfus as Christine
‘United States of Tara’: Toni Collette as Tara Gregson
‘Samantha Who?’: Christina Applegate as Samantha Newly
‘30 Rock’: Tina Fey as Liz Lemon

Should Win: Toni Collette as Tara Gregson

Comedic legend Jerry Lewis once said, “I don’t like any female comedians.” No narrow-minded person today can dispute how talented and utterly hilarious the six women nominated for outstanding actress in a comedy series. While all the other nominees in this category only portray one character, Toni Collette deserves the Emmy as she balances the act of playing four. On “The United States of Tara,” Collette plays a woman with dissociative identity disorder, who is unable to control herself as she transitions between three other ‘alters.’ These other personas range from retro housewife Alice to sexually ravenous teenager T to vulgar Vietnam vet Buck. The question is whether Collette should be nominated in a comedy or drama category. (I personally believe she should be nominated in both.) Collette’s enormous talent is displayed as she seamlessly slips from character to character. She can play an unruly teenage girl who makes out with her own son’s boyfriend and then morphs into June Cleaver with one wink with more conviction than most actresses could. Her performance on this dark, twisted, black comedy is heartbreaking, inspiring and always fresh.  Though it’s unlikely she will win her first nomination as Tara, Collette should win for her exemplary job as a working mother who desperately tries to hold her family together as her own life falls apart.

Will Win: Tina Fey as Liz Lemon

Tina Fey is definitely the one to beat at this year’s awards. Aside from taking home the Emmy last year in this category, “30 Rock,” which she also created, is nominated for a record of 22 Emmy awards. With a great ensemble cast that features fellow Emmy nominees this year Alec Baldwin, Jane Krakowski, Tracy Morgan and Jack McBrayer, Fey shines out as the loveable boss Liz Lemon who holds the fictional show, “TGS” together. Fey’s wit and charm come across easily, as she writes most of the material on the show. The biggest threat to Fey’s potential win comes from Mary-Louise Parker, who has been nominated the last two years for her role as Nancy Botwin on “Weeds.” Despite Parker, Tina Fey is a sure bet. – A.J.

Outstanding Supporting Actor in a Comedy Series

Nominees:
‘Entourage’: Kevin Dillon as Johnny Drama
‘Two and a Half Man’: Jon Cryer as Alan Harper
‘How I Met Your Mother’: Neil Patrick Harris as Barney Stinson
‘30 Rock’: Tracy Morgan as Tracy Jordan
‘30 Rock’: Jack McBrayer as Kenneth Parcell
‘The Office’: Rainn Wilson as Dwight Schrute

Should win: Jack McBrayer as Kennet Parcell

As a “30 Rock” fan, this category is a tough one to pick. Choosing between the bumbling Jack McBrayer and the clueless Tracy Morgan is almost impossible as both of them help to make the show what it is. In the end, though, Jack McBrayer – who is funnier, quirkier, more original, and more entertaining – should win Supporting Actor.

Will win: Neil Patrick Harris as Barney Stinson

It’s really down to Rainn Wilson (“The Office”) and Neil Patrick Harris (“How I Met Your Mother”) in this category.  While “The Office” has more Emmy pull in general, I think that Harris will ultimately take this one. Aside from being a hilarious actor, he’s on a roll with awards shows, successfully hosting the Tonys and now hosting the Emmys. He has the upper hand. – A.T.

Outstanding Supporting Actress in a Comedy Series

Nominees
‘Pushing Daisies’: Kristin Chenoweth as Olive Snook
‘30 Rock’: Jane Krakowski as Jenna Maroney
‘Weeds’: Elizabeth Perkins as Celia Hodes
‘Ugly Betty’: Vanessa Williams as Wilhelmina Slater
‘Saturday Night Live’: Amy Poehler as Various Characters
‘Saturday Night Live’: Kristen Wiig as Various Characters

Should Win: Kristen Chenoweth as Olive Snook

Kristen Chenoweth (“Pushing Daisies”) should win, hands down. As Olive Snook, Chenoweth brings an extra level quirkiness to an already quirky show. She’s crazy and neurotic, and Kristen makes it work.

Will Win: Amy Poehler

I really don’t think that there is much of a competition here. Amy Poehler shined this past season of “SNL” as the funniest regular cast member. Her Hillary Clinton impersonations and Weekend Updates were some of the highlights of the show (aside from Tina Fey as Sarah Palin, of course). None of the other nominees have anywhere near as much momentum. – A.T.

Outstanding Supporting Actor In A Drama Series

Nominees
‘Boston Legal’: William Shatner as Denny Crane
‘Lost’: Michael Emerson as Ben Linus
‘Damages’: William Hurt as Daniel Purcell
‘Boston Legal’: Christian Clemenson as Jerry Espenson
‘Breaking Bad’: Aaron Paul as Jesse Pinkman
‘Mad Men’: John Slattery as Roger Sterling

Should/Will Win: Michael Emerson as Ben Linus

Michael Emerson should and will win. No one else in this category has a character as complex or creepy as his. Think his third nomination will be a charm! – C.W.

Outstanding Supporting Actress In A Drama Series

Nominees:
‘Grey’s Anatomy’ Sandra Oh as Dr. Cristina Yang
‘Damages’: Rose Byrne as Ellen Parsons
‘Grey’s Anatomy’: Chandra Wilson as Dr. Miranda Bailey
‘In Treatment’: Dianne West as Gina
‘In Treatment’: Hope Davis as Mia
‘24’: Cherry Jones as President Allison Taylor

Should Win: Sandra Oh as Dr. Cristina Yang

I would love to see Sandra Oh win after being nominated for her role as Cristina in Grey’s Anatomy for the past five years.

Will Win: Dianne West as Gina

But think Dianne Wiest has it for a second year in a row. – C.W.

Outstanding Commercial

The Nominees:
‘Airport Lounge’: Amex/Platinum Card
‘Alec in Huluwood’: Hulu
‘Bottled Courage’: Nike
‘Circus’: Anheuser-Busch Budweiser
‘Heist’: Coca-Cola
‘Magazine Buyer’: Anheuser-Busch Bud Light
‘Tips’: Career Builder
‘Wedding’: Sprint Nextel

Should win: ‘Bottled Courage’ – Nike

This commercial has it all: amazing sports clips thrown at you in fast motion, inspiring messages (“Everything You Need is Already Inside”), and the background music of The Killers’ best song: “All These Things That I’ve Done.” Besides, any commercial that makes me want to get out there and play sports has truly accomplished something. I’ve got soul, indeed. – H.S.

Will Win: Alec in Huluwod – Hulu

It stars Alec Baldwin. If that weren’t enough, he pokes fun at television, corporations, the mass public and even aliens! The cynicism of the tagline (“Hulu: An evil plot to destroy the world. Enjoy.”) will most likely win out over the simple, optimistic joy of the Nike commercial. –H.S.

Outstanding Guest Actor In A Comedy Series

The Nominees:
‘Desperate Housewives’: Beau Bridges as Eli Scruggs
‘Saturday Night Live’ • Host: Justin Timberlake : Justin Timberlake as Various Characters
‘30 Rock’: Steve Martin as Gavin Volure
‘30 Rock’: Jon Hamm as Dr. Drew Baird
‘30 Rock’: Alan Alda as Milton Greene

Should Win: Justin Timberlake on SNL

Can someone just make the man a regular cast member? He brings joy and energy to every sketch, saving the not-so-funny ones—and, let’s face it, that’s most of them—with sly jabs at himself and everyone else, including Britney Spears. Even as Lorne Michaels fires and hires, Timberlake keeps coming back and winning every time, and that says something.

Will Win: Jon Hamm on 30 Rock

Jon Hamm is the dreamiest man of this millenium, and he uses it to his advantage with good humor. He also just happens to be a fantastic actor, and his appearance on 30 Rock was solidly funny. However, when it went down the whole his-sister-is-actually-his-mom path, Hamm’s talents were a bit wasted on a silly plotline. Plus, he has won, like, a billion awards for “Mad Men.” Give JT some love, Emmys! – H.S.

Outstanding Guest Actress In A Comedy Series

The Nominees:
‘The Big Bang Theory’: Christine Baranski as Beverly Hofstadter
‘Monk’: Gena Rowlands as Marge
‘My Name Is Earl’: Betty White as Crazy Witch Lady
‘Saturday Night Live’: Tina Fey as Governor Sarah Palin (Spoof)
‘30 Rock’: Jennifer Aniston as Claire
‘30 Rock’: Elaine Stritch as Colleen Donaghy

Should Win: Tina Fey as Sarah Palin

It’s just pure luck that Fey happens to have an uncanny resemblance to the ex-Governor, but it took Fey’s impeccable comic timing and fearlessness to make the sketch a national sensation. She actually made the opening SNL sketch funny, and that is a feat within itself.

Will Win: Tina Fey as Sarah Palin

It’s likely that more people watched Fey pretend to be Palin than footage of Palin herself, therefore linking the sketch directly to the campaign and its outcome. If that’s not influential, I don’t know what is. –H.S.

Outstanding Host For A Reality Or Reality-Competition Program

The Nominees:
‘The Amazing Race’: Phil Keoghan, Host
‘American Idol’: Ryan Seacrest, Host
‘Dancing With The Stars’: Tom Bergeron, Host
‘Project Runway’: Heidi Klum, Host
‘Survivor’: Jeff Probst, Host
‘Top Chef’:Padma Lakshmi, Host, Tom Colicchio, Co-Host

Should Win: Phil Keoghan from The Amazing Race

Phil is the perfect reality show host: like a loving parent, he cares about the contestants, but also knows when to put them in their place. He’s only involved when he needs to be, and he’s from New Zealand. Done and done.

Will Win: Phil Keoghan from The Amazing Race

Phil will win, hands down. What really needs to be said for this category is how undeserving Tom Bergeron is to be nominated for ANY category. Undoubtedly the least funny person on the face of the earth, he has wrangled not one but TWO jobs hosting television programs. Seriously? I’d much rather watch Daisy Fuentes and that other dude host “America’s Funniest Home Videos” than ever see or hear from Tom Bergeron again. –H.S.

“Taking Woodstock” has many pieces that are loosely held together by the main character, Elliot Teichberg (Demetri Martin). Elliot, a semi-closeted gay artist, has struck out in the big city in terms of both a career and love. He has now returned to the Catskills to help his parents run a financially failing motel, the El Monaco. Seeing a possible way to save the motel, he, as president of Bethel’s Chamber of Commerce, offers the town as the setting for Woodstock after a neighboring town gives it a disapproving boot.

Demetri Martin’s natural comedic skills enable his character to avoid becoming bogged down in all the serious issues he’s dealing with, e.g., coming out to his parents and deciding what to do with his life. This balance, however, acts as a negation and renders his performance unremarkable.
Elliot’s parents, Sonia (Imelda Staunton) and Jake (Henry Goodman), immigrants from Russia, are also going through a rough patch. The failing motel is hindering not only their livelihoods, but also their spirits. The younger generation that Woodstock brings is thus beneficial in more ways than one. The festival also betters Billy (Emile Hirsch), a childhood friend of Elliot and a disaffected soldier back from Vietnam.

A noteworthy Liev Schreiber plays Vilma, a wise cross-dressing Marine. Vilma acts both as mentor to the Teichberg family and security for the motel turned Woodstock base. The Earthlight Players who are staying in the El Monaco’s barn also deserve mention. This outlandishly strange but amusing theater group is just another piece to tie into this already crowded film.

The film’s tempo is almost as varied as its colorful characters. “Taking Woodstock” starts off almost purposefully boring. It picks up with a literal giant “X” marks the spot made of bed sheets. Here land helicopters and a mass of producers, including Michael Lang (Jonathan Groff), Woodstock’s main promoter. Lang, one of the most charming hippies and hippest negotiator I’ve ever seen, then gets in contact with Max Yasgur (Eugene Levy) the farmer, whose land becomes the site of the festival.

After the helicopters touch down, the viewer gets pulled into the whirlwind of organizing what becomes a concert of over half a million in the short time of three weeks; you see everything from the unsanitary rooming to the backup highways and extensive rain. This whirlwind is heightened by use of multiple split screens and old-fashioned-esque footage. But apart from this fun buildup, the film is punctuated by quiet moments that make sure the film never gathers any speed.

The climax of the film occurs at the festival, which is briefly shown from afar in a neat shot as a shimmering spectacle, heavily lit and surrounded by an unending, oscillating sea of people. Elliot never gets closer because he decides to randomly join VW Guy, or Paul Dano, for an acid trip in an unnecessarily long drug sequence.

“Taking Woodstock” saunters from start to finish and never culminates into anything substantial. All its pieces, from its mass of characters to its theme, are left open ended. But this pleasant film’s dedication to the depiction of Woodstock’s creation gives the viewer a genuine feeling of being a part of this unique process, and one cannot help but be drawn into its alluring topic, Woodstock.

3/5 stars

Directed by Ang Lee

“Taking Woodstock” is a pleasant dedication to the creation of Woodstock but never culminates into anything substantial. (Courtesy of NBC Universal)

The Von Bondies looked poised to flourish in the limelight after their 2004 album, “Pawn Shoppe Heart,” and its hit song “C’mon, C’mon” (the theme song of TV show “Rescue Me”). But their light faded, and no one expected a fourth album. Had this been 2004, some of these songs may have made it to the top of radio playlists. And it’s a shame because there are some gems within this glossy garage rock album.

The Detroit rockers keep the songs short, with only one song exceeding four minutes. The songs end before the listener can become too tired of them but also before a true connection can be made. The hard-hitting guitar riffs, fast paced drums and lively backup vocals pass by in a blur of energized urgency that would have taken hold had there been any hooks within the song.

Most songs exhibit little exploration in terms of sound and are stereotypical pop. Within this expected fluff, the hidden gems struggle for attention. One song is “She’s Dead to Me.” Although it’s only a minute and a half, it’s rich in its variation, including a wailing Stollsteimer, smooth and at times pulsing guitar riffs, steady drums and complementary ’60s-esque female backup vocals. Its ends in a flourish that leaves the listener wanting more, which probably could and should have been worked out.

Stollsteimer lulls you into “Accidents Will Happen” with his softened voice and intense but endearing lyrics, “She set herself on fire/ I was burned from head to toe/ please don’t tell anybody/ I can’t bear them to know.” He continues these contrasts by intensifying his voice for the chorus and then falling back into lulling tones.

The Von Bondies exude a cool attitude and retro sound but neither is enough to carry an album. “Love, Hate and Then There’s You” is full of expected, built up choruses and unimaginative song structures. The female backup vocals differentiate the album, and the lyrics and Stollsteimer voice are adequate to gain the Von Bondies new fans. But the Von Bondies surviving may be the best part of the album.

Looking for another hit, the Montreal band comes close with the inspired song “Being Here.” It has a catchy chorus, elegant use of guitar, melodic keyboard and compelling vocals from singer Tim Fletcher. It is the most likely to find its way on to a radio station near you. Another notable song is “I’m With You.” Its earnestly delivered lyrics and heartfelt drifting tune is simple and pure.

The Stills’ attempt to find their next hit has come at the price of sounding confused. The songs, individually unique and exciting, do not flow in any manner. “Snakecharming the Masses” has the most interesting rhythm but is repetitive and lacks a hook. It is an abrupt change from the songs surrounding it which have a faster pace and a pop rock sound. The Stills would like to be considered tough. However, their choice of delightful and moving guitar and drums stand in their way. Especially in the song “Snow in California” which serves as a warning of global warming, a theme of the album made obvious by its title. But it makes disaster out to be a joyous and welcome occasion.

If the Stills were to pick one sound to focus on in this album, instead of their dozen, they would be best served to focus on their ballads. Tim Fletcher, and the group’s other vocalist David Hamelin, stand out in tunes such as “Everything I Build,” and “Statues of Sirens.” Each song’s simplicity is beautiful and emotive and doesn’t feel forced like others.

Though confused in sound, The Stills’ third album is an easy and enjoyable listen. It should be acknowledged that the group has had setbacks, including losing and gaining a member after their first album. A gorgeous try, this Montreal band is still striving to separate itself from all the other mediocre indie bands.