Review: Wonder Woman v2 #147-150

            After unleashing the villain Devastation upon the world, the Titans of myth lead an assault on the various pantheons of Gods in order to acquire sole ownership of the heavens. Naturally, the only thing standing between them and victory is Wonder Woman.

            Eric Luke continues to impress with this four issue arc entitled “Godwar.” He opens the first issue on a humorous vignette wherein he has Wonder Woman criticize the Golden Age depiction of her character by poking fun at the fact that Wonder Woman’s motivation back then was the love of a man. It’s a cute little moment that serves to show us how far the Amazing Amazon has come. After that, the plot quickly develops and we have the Titans of myth waging war on the Olympian Gods and their victory leaves Wonder Woman powerless. She teams up with the champion of the Hindu Gods, Rama, when the Titans set their sights on conquering Mount Mandara. Rama is, in essence, a male Wonder Woman in that he was given his abilities by the Hindu Gods. This would have been a more effective character had Luke not used such a similar narrative with his character Devastation. As such, it leaves the reader with a feeling of déjà vu. Still, Luke deserves credit for crafting an interesting storyline wherein he utilizes different mythologies and weaves them together in a story that ultimately serves to promote the message that everyone is entitled to their religious beliefs and that there is room for all religions.

            Yanick Paquette returns for the first two issues of the arc. They’re easily the two most visually dynamic of the arc where each panel is equally as dramatic as the next. His Wonder Woman is gorgeous and his Titans are menacing. Rick Burchett takes over for issue #149 and simulates a style like Paquette’s but ultimately comes across as too cartoony. Matthew Clark concludes the arc with the super-sized #150. He makes Wonder Woman look a little childish and his art can be too busy at times.

            “Godwar” is a riveting arc sure to impress mythology buffs and is a self-referential Wonder Woman tale that asks the essential questions about the character and her motivation while showing off the fact that no one else kicks ass quite like she does. While it seemed a bit rushed at some points and Rama bears some similarities to Devastation in origin and purpose, the arc was a fun read with lots of action.

Grade: B

Review: Working Girl (1988)

            By today’s standards, the late-‘80s box-office romantic comedy Working Girl would be considered a feel-good chick flick intended for a summer release much like The Devil Wears Prada or The Proposal yet somehow it became a critically-acclaimed film released during Oscar season. In fact, it was nominated for six Oscars!

            Released during a time when women were entering the world of business in full force, Working Girl dealt with the sexual politics of commerce and what it takes to achieve success as a woman in a male-dominated field. A young Melanie Griffith plays the ambitious Tess McGill whose frustration over her stagnant position as a secretary forces her to take matters into her own hands and masquerade as a high-powered business woman in order to enhance her chances of advancing her career. Griffith’s girlish way of speaking is endearing and her exuberance in the role causes the audience to fall in love with her. We root for her and she truly gives it her all in this performance. She is to be commended especially in her ability to switch between dialects and accents. Alec Baldwin and Harrison Ford are admirable as Griffith’s love interests. Baldwin plays the role of the despicable boyfriend remarkably well and it’s not hard to become enamoured with Ford’s dashing good looks. Joan Cusack, notably nominated for an Oscar for her supporting role, steals each and every scene she’s in. She plays the garishly dressed best friend to Griffith’s Tess and she is a total riot. Cusack is rough around the edges and gives it 120% as a loud mouth. The film’s cast is rounded out with its pseudo-villain Katharine Parker as portrayed by Sigourney Weaver. It’s hard to take Weaver seriously in the role. She’s a parody of a female executive and comes across rather shallowly. Truthfully, Katharine would have been played more effectively by Meryl Streep (re: Miranda Priestley). Yes, she generates a few laughs but lacks the authenticity her cast mates have. It's an abnormal miss in Weaver's otherwise near-perfect filmography which included stellar performances in Gorillas in the Mist, Copycat and Alien (and its sequels).

            Working Girl is an enjoyable romp sure to be a riot for most. It features the obligatory big hair and massive shoulder pads expected of the ‘80s but there’s a message at the heart of the film and it makes a statement. In fact, Working Girl couldn’t be more relevant today. In the 20-plus years since the film came out, women have seemingly made very little progress in the business world and it unfortunately reflects the fact that many of us are stuck at the bottom of the career ladder because those at the top are still so stuck in their ways (or are dastardly vicious self-important Katharine Parkers).

Grade: B

Review: Wonder Woman v2 #143-146

                Taking over Wonder Woman’s title after John Byrne’s character-defiling run, Eric Luke was tasked with the responsibility of returning the Amazing Amazon to her central mythology all while crafting exciting narratives. His first major arc centred on the creation of a new villain who would push Wonder Woman to her limits – Devastation.

                Introducing a new villain to the cast of an established superhero comic is a difficult undertaking and the majority have the tendency to fall flat but Luke rose to the occasion with his creation. Sculpted from clay and given life by the Cronus and his dark children, Devastation was conceptualized as an anti-Wonder Woman. What she lacks in morals and convictions, Devastation more than makes up for with her thirst for destruction as her name would suggest. As Devastation tears through the southern States and threatens to detonate an atomic bomb, Wonder Woman proves to be her only obstacle and she seems more than confident that she can best the Amazing Amazon. Luke’s writing is strong and he knows how to hold his reader. Devastation is a great addition to Wonder Woman’s rogue’s gallery and she can be favourably compared to classic foes like Ares and Circe. Another one of Luke’s strong suits is his consistent characterization of Wonder Woman. He presents the Amazon Princess as good-natured and as someone who prefers talking things out over violence but is willing to do whatever it takes to save the day. He also gives Wonder Woman a slight edge by having her act more territorially as she takes her fight against Devastation personally, not wanting to involve anyone else in the fight. It’s a proud and stubborn side to Wonder Woman that isn’t often shown but adds dimension to her, especially since it adds flaws to a character many see as lacking in faults.

                Yanick Paquette serves as the primary penciller for this arc. He draws Wonder Woman beautifully and respectfully featuring her looking every bit like an Amazon rather than a porn star. The art has a lot of character to it and he really knows how to construct a scene, creating a lot of stunning imagery. Matthew Clark fills in for one issue (#144) and his more detailed style is a little jarring in comparison especially in his attempts to capture Wonder Woman more realistically. It’s worth mentioning that this run would introduce the covers illustrated by fan-favourite Adam Hughes that would characterize Wonder Woman’s title for the years following. His covers here introduce each issue wonderfully and are absolutely stunning pieces of art in and of themselves.

                These four issues were a breath of fresh air following John Byrne’s eye-roll worthy tenure on Wonder Woman. Eric Luke has a firm grip on Wonder Woman’s character and gives the title an overall darker tone that works in its favour successfully convincing us that Wonder Woman is a total badass and that Devastation is an excellent opponent for the Amazing Amazon. 

Grade: B+

Review: Hawkgirl, Injustice - Gods Among Us

                Made popular by her appearance in the cartoon Justice League, Hawkgirl is the only other female member of the Justice League to appear in Injustice: Gods Among Us alongside Wonder Woman. Like the Amazing Amazon, she is a powerhouse fighter whose style emphasizes her warrior training.

                Hawkgirl is one of the easier characters to get a grasp of in the game. Her fighting style revolves exclusively around her mace and each special move shows off a different way to utilize this medieval weapon. As such, Hawkgirl has good range which makes her extremely versatile. Additionally, Hawkgirl is characterized as a tank in the game which means she can interact with the heavy objects strewn around each stage, enabling her to toss such things as motorcycles and large robots at her opponent. Where developers went wrong with Hawkgirl, however, was in her super move and her character power. Her super move sees her hurling her enemy into the air and delivering two high-powered blows to their body with her mace. It lacks the flare some of the other characters have and denies the character the opportunity to really let her opponent have it with her trademark weapon. In terms of her character power, she was given the passive ability to fly upon pressing the character power button. It’s not a very useful ability as battle is best waged on the ground. A better suggestion for her character power could have been heightening the electricity on her mace to cause additional damage for a short period of time.

                Very little is known of Hawkgirl in her narrative aside from the fact that she’s the first Hawkgirl and that her husband Hawkman has died in the alternate universe ruled by Superman. She’s hardly in the story mode and it’s rather disappointing since that makes her one of the only League members not to receive a chapter in that mode. Luckily, her costuming is at least on point. While her default costume is undoubtedly reminiscent of Kendra Saunders’ Hawkgirl costume it is still stylish and features some interesting textures. Her alternate costume is an Egyptian-inspired costume that’s both regal and badass. Having two great costumes in the game is a luxury most of the other characters don’t have.

                Hawkgirl is a treat to fans of Justice League and DC Comics more generally. They took a risk with a winged character and it paid off to some degree. She’s a brilliant warrior whose mace proves to be a rather fun weapon to toy around with on the battle field but the lack of attention paid to other aspects of the character is disappointing. While she’s hardly the worst female fighter in the game, she’s not the best either leaving her somewhere in the middle.

Grade: B

Review: Raven, Injustice - Gods Among Us

            For a game so focused on DC Comics’ Justice League, it’s surprising that the Teen Titans' Raven would make it onto the initial roster of Injustice: Gods Among Us over veteran Leaguers like Zatanna and Black Canary. Nevertheless, Raven makes for an interesting entry into the fighting game.

            Known as an empath, Raven’s powers have always been relatively difficult to adapt and in Injustice: Gods Among Us they come across more generically as mystical powers. While fighters like Wonder Woman and Catwoman are largely focused on melee assaults, Raven is largely dependant on her magical abilities which transform Raven into a more long-range fighter. She is able to generate projectiles, teleport and bind enemies without having to come into close contact with them. In this way, she’s one of the more defensive characters in the game as well as one of the more technical fighters. In order to utilize her properly, gamers will have to master her moveset. The mystical aspect of her abilities continues over to her super move where she teleports her opponent to a demonic realm where her father Trigon blasts them with a powerful beam. While it’s not one of the more spectacular super moves, it is both creative and pays homage to the character’s background.

            Raven’s status as a Titan carries over to the narrative and is presented as Cyborg’s partner as part of Superman’s Regime. Her narrative largely hinges on the ‘Evil Raven’ trope we’ve seen so often before so it leaves the audience with a feeling of déjà vu. Raven’s appearance is arguably one of the worst in the game. While her default costume pays tribute to her classic look and has a lot of texture to it, developers failed to capture Raven’s unique facial structure and, in their attempts, generated a cringingly masculine visage for Raven. In essence, Raven looks like a really bad drag queen. Since NetherRealm has a history of difficulty capturing the female face, it’s no surprise that one (or several) of the women in the game would suffer from the Mortal Kombat manface syndrome. That said, her chiselled features are much less distracting in her alternate costume as she is presented as demonic in that form. NetherRealm does at least deserve points for making an attempt to capture a different sound for Raven’s voice that fits the style of text used in her earliest appearances versus the emotionless gothic voice she was given in the cartoon.

            Teen Titans fans will no doubt rejoice over Raven’s presence in the game. She’s fairly similar to her comic book counterpart and her cartoon adaptation. Her moveset will also prove to be lots of fun for those willing to work at perfecting their combat with her. While she’s not one of the best females in the game, she’s at least interesting enough to keep more than a handful of people selecting her as their favourite… they’ll just have to ignore the fact that she looks like a man.

Grade: B-

Review: Jennifer Lopez, J.Lo

            If On the 6 made Jennifer Lopez a superstar then her sophomore effort J.Lo transformed the singer into a super nova. While it is largely a continuation of the Latin pop sound she emerged with on the music scene, the album is chock full of pounding beats and infectious hooks hellbent on getting the listener to dance. Often considered her signature album, J.Lo is one piece of La Lopez’s discography that is not to be missed.

            The album opens with the club thumper “Love Don’t Cost A Thing” with its pulsating rhythm and Lopez’s slick vocal delivery over the wordy lyrics declaring that love can’t be bought. It’s hard to find a fault with the song but if there was one it’d be that the video’s dance breakdown isn’t present in the album version of the song. Lopez goes from strength to strength with the songs that follow. “Play” is a major standout on the album with its hopping electronic composition and stuck-in-your-head-all-day lyrics with Lopez laying the sass on thick. Likewise, “I’m Real” and “Walking on Sunshine” keep it moving with their thumping arrangements encouraging at least some minor head bouncing and foot tapping. Despite her efforts to maintain a more radio-friendly sound, the bulk of Lopez’s album is firmly rooted in Latin pop. “Ain’t It Funny” is guitar-heavy love song with a quickly delivered chorus, “Cariño” features an effective horn section on its chorus encouraging movement, and the duet “Dame (Touch Me)” stands strongest for its perfect marriage between percussion and brass instruments. Sprinkled between these tracks are a few gems. The Lopez-penned “Secretly” is a fluttering slow jam with a delicate composition and effortless vocal delivery while “I’m Gonna Be Alright” picks up the tempo with its lightly synthesized arrangement. The Darkchild-produced “That’s The Way” is another fantastic dance song that is indebted to Latin pop but takes a more modern perspective in its instrumentation and would have served as the ideal song for the album to conclude on.

            While J.Lo had Lopez preparing to seize the Dance Queen throne, it is still far from being a masterpiece. At 15 tracks, it is about three tracks too long making the listening process a little tedious. It's slower songs lack the same vulnerable introspection she'd come to be known for later and some songs are pure filler. Nevertheless, J.Lo is undeniably a piece of pop culture history and some of its songs are pure gold. Lopez’s career has been plagued by critics and they sharpened their claws healthily on J.Lo but perhaps they’ve been so harsh due to the fact that they lack two components that make listening to Lopez’s music so entertaining – rhythm and an unabashed desire to let go and have fun.

Recommended Listening: “Love Don’t Cost A Thing,” “I’m Real,” “Play,” “Walking on Sunshine,” “Ain’t It Funny,” “Cariño,” “Dance With Me,” “Secretly,” “I’m Gonna Be Alright,” “That’s The Way,” “Dame (Touch Me)”

Grade: B+

Review: Demi Lovato, Don't Forget

            Ever since Hilary Duff’s debut album Metamorphosis went multi-platinum, Disney and its record company Hollywood Records has been eager to repeat the formula as often as possible creating varying degrees of success with acts like Vanessa Hudgens, Miley Cyrus and Selena Gomez. While it would be easy to write off fellow Disney alum Demi Lovato with these ladies, her debut album Don’t Forget provided a unique glimpse into the world of someone with an unforgettable voice and a refusal to play along with the conventions of pop stardom.

            Demi’s earth-shattering voice is at the heart of Don’t Forget. She belts her way through most of the tracks like a seasoned pro showing critics that she doesn't have the limited vocal range of her contemporaries. The bulk of the album is produced by the Jonas Brothers and it largely works in Lovato’s favour. “Get Back” is a sassy rock song with Lovato pleading to get her boyfriend back while the title track, “Don’t Forget,” is a rock ballad of sorts featuring a more vulnerable Lovato lamenting over a break-up. Another stand-out is the radio-friendly duet “On the Line.” Its light orchestral composition blends surprisingly well with the Jonas Brothers’ rock-pop sound and has memorable vocal deliveries from Lovato and Joe Jonas. Still, the Jo Bros led Lovato astray with “La La Land” and “Gonna Get Caught.” Though neither is terrible, the former is a rather predictable anti-Hollywood anthem and the latter is fairly generic. The rest of the tracks are hit-and-miss. “Party” and "Until You're Mine" feel oddly familiar due to their surprising similarity to the sound forged by Hilary Duff on her self-titled sophomore album. The closing ballad “Believe in Me” shows a softer side of Lovato but gives the album an inappropriate fadeout rather than allowing it to end with a bang. Still, the album has its moments of brilliance. “The Middle” is an admirable track given its ability to afford Lovato a more mature and "Two Worlds Collide" has a sweeping rock arrangement with crashing drums paired with strings. The singularly-penned “Trainwreck” features playful lyrics and vocals by Lovato over a hopping rock composition making it easily one of the catchiest songs on the album.

            Don’t Forget is a commendable debut release with its share of faults but are easily forgiven when you remember that Lovato was only 16 when the album hit the shelves. The album should be applauded for the fact that Lovato maintained creative control over its content and she should be further complimented for her remarkable vocal talent. Her powerhouse voice is awe-inspiring and her deliveries are unique. Her chameleon-like ability to morph her vocals to suit a composition is uncommon these days and prove that behind even the most generic of songs she will be someone with tremendous vocal talent.

Recommended Listening: “Get Back,” “Trainwreck,” “On the Line,” “Don’t Forget,” "Two Worlds Collide"

Grade:  B-

Review: Harley Quinn, Injustice - Gods Among Us

            It’s hard to believe that it’s been 21 years since Harley Quinn was first introduced to us through Batman: The Animated Series and yet there’s no denying that the Joker’s on-again-off-again girlfriend has become one of DC Comics’ most iconic characters in those two short decades. Her latest appearance in the fighting game Injustice: Gods Among Us has become yet another in a long line of adaptations which is sure to please her steadily growing group of fans.

            Like her fellow Batman femme fatale Catwoman, Harley Quinn is a wily fighter whose agility and acrobatics are displayed quite cleverly. Fans will be happy to know her trademark mallet makes an appearance and will have them bashing around their opponents with glee. However, the makers of the game took great artistic license with Harley’s character in that the majority of her move-set centres around gun usage. While the character is not unfamiliar with them, it’s never been such an integral part to her fight style before. Of course, Harley comes across much more like a pirate with her revolver than someone like Deathstroke who prefers automatic weaponry. Thankfully, Harley’s signature humour remains. Her super move is a silly little move involving an explosive pie and her character power is an iffy gamble that will either cause Harley to pull out a rose, Joker’s picture or an explosive. Make no mistake though... Harley is not to be trifled with as she’s one of the craftier characters in the game.

            Harley plays an interesting role in the story mode of the game but, just like Catwoman, she gets the short end of the stick. Rather than focus on the Joker, the writers and producers would have been better giving his chapter to Harley Quinn. Yes, the Joker’s more iconic but Harley provided more narrative interest. Appearance-wise, Harley Quinn becomes Whoreley Quinn in a rather eye-roll worthy get-up which is no doubt held together with super strength double-stick tape. However, her alternate costume proves more interesting with its rather badass leather jacket and pant combo. Still, Harley remains the most sexualized of the female characters. Of course, this has become a trend as of late in her video game appearances perhaps merely as an extension of her consistent characterization as a willing victim of abuse.

            Of the female characters in Injustice: Gods Among Us, Harley Quinn ranks high in terms of enjoyment and general badassery. While her lack of a chapter in the story mode is incredibly disappointing and her costumes leave little to the imagination, the character’s core is present and is sure to make her diehard fans happy.

Grade: B+

Review: Catwoman, Injustice - Gods Among Us

            When it comes to iconic comic book females, Catwoman is a name that is sure to cross a few people’s minds. As such, it was really no shock that she made it into Injustice: Gods Among Us. The feline fatale sharpens her claws on her enemies and proves to be a rather seductive thorn in the good guys’ collective sides.

            Agility is at the forefront of Catwoman’s fighting style. As one of the faster characters in the game, she utilizes quick swipes and a few cracks of her whip to rack up the combos. Her claws comprise a large part of what makes her so much fun to play as. They add just the right amount of damage to make you wince at how much pain your opponent must be feeling. The inclusion of her whip is not only expected but also necessary. Since she’s not a character who would use projectiles, the whip closes the gap when she needs to fight long-range. Catwoman’s unique “power” in the game is that she accumulates a tally of scratches throughout the battle which you can put towards unleashing a powerful scratch-happy combo. It’s one of the more useful abilities as it essentially performs like a mini-super combo.

            More generally, the producers of the game fumbled tremendously with Catwoman. They underused her in the story mode and failed to recognize the potential she had within the narrative they established. Rather than explore her perspective in this alternate universe, they chose to keep her in the background. This is especially enraging since there are disposable chapters in the story mode that would have been put to better use had they featured Catwoman. Of course, it’s even more infuriating when you consider the fact that Wonder Woman was the ONLY female to receive a chapter in the story mode. Sexism at its finest, folks. Additionally, it’s quite clear that the writers had no clue who Catwoman is but just had a general idea of how she might act. As such, she’s more of a caricature of Catwoman than anything else. She’s quite obviously in the role typically filled by Wonder Woman’s nemesis Cheetah and is treated as little more than Batman’s love interest. Disappointing. Where they did go right were her costumes. They deserve a standing ovation for carefully tucking Catwoman’s breasts into her costume so she can be taken seriously for once without the eye-roll worthy objectification she is subjected to elsewhere. Her default costume is a fabulous black leather get-up with a corset and metal attachments as claws. Her alternate costume is even better – it’s a purple catsuit with a proper mask! Now, if only we can get DC Comics to put her in it in their comics…

            If you’re looking for a fierce female to kick tons of ass with, look no further than Catwoman. She's fast and tons of fun. However, if you’re a Catwoman fan (like I am) you’ll likely be disappointed by the lack of thought that went into her character.

Grade: A+ (but a big ol’ D for narrative)

Review: Wonder Woman, Injustice - Gods Among Us

            The hotly anticipated DC Comics fighting game Injustice: Gods Among Us is finally here and it’s probably safe to say it’s lived up to expectations. The gameplay is fluid, the story mode is comprehensive and there are plenty of extras available for people to unlock. The roster of the game has been a point of discussion for many but what was never up for discussion was whether Wonder Woman would end up in it or not. She was one of the earliest announced characters and remains part of the elite group of females chosen to be in the game.

            Wonder Woman is one of the more unique characters in Injustice. She is a powerhouse capable of bashing her opponents with heavy objects scattered around the universe and she does all this with incredible grace. The Amazing Amazon has two basic fighting styles. Her default style focuses on dishing out damage with her fists, emphasized by the usage of her tiara, bracelets and lasso. The lasso in this instance operates as a whip and a lariat, giving the gamer a varied range of techniques to choose from. Her other fighting style is a grounded assault based around her sword and shield. This is approach highlights Wonder Woman’s Amazon training. Her Amazon heritage is further weaved into her fight style by the appearance of a few Amazons to help her out in battle during a special move. It’s pretty badass. That said she can be tricky to fight with. Namely, her projectiles (tiara and shield) need to be timed properly in order to connect with their target and she's not as quick as you'd expect. 

            Wonder Woman also has the distinction of being the sole female to receive a chapter within the story mode (insert eye-rolls for the blatant sexism here). She’s fairly well-written and is treated faithfully in that her ideals of truth, love and justice are upheld beautifully. Her appearance, however, in the game is a little iffy at times. She veers too often into drag queen territory as her overall physique is far too top-heavy making her look overly masculine. Still, her costumes are fantastic. Her default costume is a practical option featuring pants. Luckily, it’s a structured look that respects her iconic star-spangled tights but maintains its own originality. Her alternate costume is very fierce. It’s more gladiatorial and truly shows off Wonder Woman’s warrior side.

            Fans of Wonder Woman can rejoice over the treatment she receives in Injustice. She’s the definition of badass but also retains that golden heart she’s so well-known for. She’s the sole female powerhouse in the game and is upheld as one of the League’s essential heroes. Perhaps it’s time we got a Wonder Woman game, hm?

Grade: A-

Review: Jennifer Lawrence, Silver Linings Playbook

                As this past year’s winner for Best Actress at the Academy Awards, expectations are high when it comes to seeing Jennifer Lawrence’s performance in David O. Russell’s Silver Linings Playbook. Lawrence’s role as the psychologically damaged widow Tiffany Maxwell is a meaty one, allowing her to really sink her teeth into it.

                There is an astounding transparency to Jennifer Lawrence as an actress. She is able to convey emotion with ease and with such realism that her own identity disappears, leaving only the character behind. Tiffany maintains the illusion of confidence throughout the film and comes across as a sassy and mildly inappropriate young woman. Lawrence encourages quite a few laughs with her performance thanks to the incredible lines she is given to say. Her ability to deadpan one-liners is impeccable. When the veneer of her self-assurance is ripped away, we witness the finest aspect to Lawrence’s performance – her vulnerability. With quivering tears and a willingness to indulge in emotions, she convinces the audience to side with her, ensuring that she achieves quite a bit of sympathy. It is astounding that she is able to convey so much at such a young age. But here is the crux. Lawrence was too young for the role. Her believability in the role is questionable because her obvious youth distracts from the writing. It’s hard to believe that Tiffany would be in her early-20s given her narrative. Furthermore, Lawrence’s performance isn’t consistent, which is likely due to her relative newness within the film industry. At times, she appears to be taking cues from the Kristen Stewart School of Acting. Some lines are delivered with such monotony that she seems bored with the material. Yes, her performance is great but it would have been mind-blowing had Anne Hathaway or Natalie Portman been cast instead. Fun factoid: Hathaway was originally supposed to play the character but dropped out due to scheduling conflicts. Bummer. 

                The real tragedy in Silver Linings Playbook is that Jennifer Lawrence was tagged by the media as its runaway star. In reality, her performance would fall flat without the assistance of her co-star Bradley Cooper. This is easily one of his best on-screen appearances to date and he acts his perfectly sculpted backside off. He commits himself to the role in such a way that you’re vaguely reminded of how Meryl Streep and Jack Nicholson do the same. He and Lawrence truly are a team in this movie so much so that perhaps Lawrence should have dedicated her Oscar speech to Cooper had she not been so distracting by falling on her face after tripping on her dress. They play off each other incredibly and have chemistry so palpable that you find it hard to believe these are two actors playing roles. There is no denying that Jennifer Lawrence is a fantastic actress. She’s one of the best young actresses in the industry at the moment and she’ll likely follow in the aforementioned footsteps of Hathaway and Portman but should she have walked away with the coveted trophy instead of Naomi Watts or Jessica Chastain? Perhaps not. 

Review: Ayumi Hamasaki, RAINBOW

            After the critical, commercial and creative success of I am…, Ayumi Hamasaki released her fifth studio album RAINBOW during the winter of 2002. Like its predecessor, the record sees a deeply personal Hamasaki singing honest songs through the exertion of her own creative control. RAINBOW, however, falls short in that it is less cohesive and is a bit of a hodge-podge in comparison to I am….

            It’s hard to pin down a specific sound or genre that best describes RAINBOW. “Free & Easy” begins with a haunting orchestral arrangement punctuated by a plucking piano but abruptly changes into a loud, pulsating rock composition so jarring it is enough to make the listener jump. “WE WISH” and “everywhere nowhere” cultivate a similar rock/electronica sound as featured on I am… inviting a feeling of déjà vu. Where the album finds its strength, however, is in its pop songs. “Real me” is a fun dance record that deals with the contradictory notions of womanhood. “July 1^st” and “Independent” stand out as well. The former features a strumming guitar on its verses and a funky scratching arrangement on its choruses. “Independent” is recognizable for the infectious clapping that introduces it and adopts an acoustic sound with its guitar-heavy composition. Both are fantastic summer songs ideal for driving down a long stretch of highway with the convertible top down. Of course, it wouldn’t be an Ayumi Hamasaki album without ballads. The selection on RAINBOW is diverse and illustrates Hamasaki’s willingness to experiment. “Dolls” is a quivering track with a sweeping chorus delivered with incredible emotion from Hamasaki while “Close to you” is a more traditional piano ballad with sweet vocals that takes on a gospel feel with chiming bells. The ballad “Voyage” is often cited as one of Hamasaki’s finest with its epic orchestral score and hopeful lyrics. Nevertheless, it is “HANABI” that stands out as the greatest track on RAINBOW. It is simple in its composition but its lyrics and Hamasaki’s vocal delivery are so heartrending that they elicit a reaction of genuine sorrow. It remains one of Hamasaki’s most overwhelmingly emotional songs and is typically accompanied by tears when Hamasaki performs it live on tour.

            It is easy to criticize RAINBOW for its lack of cohesion and confused arrangements but perhaps this was not accidental. Maybe each song is a colour, different in its appearance but when it is united it creates a beautiful rainbow. RAINBOW is ethereal and evocative at times and while it would have been nice to have trimmed some of the unnecessary fat from the album it is remarkable even in its flaws.

Recommended Listening: “Real me,” “Heartplace,” “HANABI,” “July 1^st,” “Dolls,” “Voyage,” “Close to you,” “Independent”

Grade: B

Review: Jennifer Lopez, On the 6

            First shooting to fame as an actress, Jennifer Lopez transitioned to singer seamlessly when she joined Marc Anthony and Ricky Martin in the Latin music boom of the late 1990s. Lopez privided a female perspective to the growing genre, adding further flare and style to Latin soul.

Her debut effort On The 6 remains firmly rooted in her Hispanic heritage, taking the sounds of salsa and rustic guitars but does something interesting by melding it with R&B elements. The opening track, “If You Had My Love,” is a glorious piece of late-‘90s pop with an infectious chorus and features Lopez stretching herself vocally. Likewise, “Feelin’ So Good” is an airy ass-shaker that borrows its flavour from hip-hop, making it one of the catchier songs on the album. However, it is the two more heavily influenced Latin dance songs that stand strongest. The Gloria Estefan-penned “Let’s Get Loud” has a beautifully layered and brassy arrangement with horns, piano and pulsating beats, whipping everything into a frenzy of epic proportions. Lopez attacks the track in a way that only the fiercest of divas can. With its strumming guitar and pounding rhythm, “Waiting for Tonight” is a dance anthem with a seductive Lopez purring on the track, leaving no room to wonder why it has become Lopez’s signature song. In addition to its dance songs, On The 6 also lays it on heavy with ballads. They are honest and introspective, featuring pared down vocals by Lopez giving her an air of vulnerability. Unfortunately, their arrangements lack personality and some come across as tragically dated. While “Should’ve Never,” “Could This Be Love” and “Promise Me You’ll Try” suffer from their ho-hum productions, “Talk About Us” serves as a strong R&B ballad with heartfelt lyrics and sway potential. The Marc Anthony duet “No Me Ames” is another powerful track with impeccable vocals on Anthony’s part and sees Lopez pushing herself. This emotional Spanish-language lament achieves its moving full potential in the sweeping ballad version towards the end of the album versus the ridiculously celebratory tropical remix that precedes “Waiting for Tonight.”

For a debut effort, On The 6 is admirable especially since Lopez served as a writer on many of its tracks. It is consistent in its content and sound. It also introduces the world to the two sides of Jennifer Lopez – the dance queen and the introspective romantic. Aside from the generic Latin pop songs and so-so ballads, the other songs on the album are stellar but it would be remiss to say the filler content doesn’t drag the album down. Yes, it’s not perfect but no one expected Lopez to achieve musical perfection on her first go out the gate.

Recommended Listening: “If You Had My Love,” “Feelin’ So Good,” “Let’s Get Loud,” “Waiting for Tonight,” “Talk About Us,” “No Me Ames (Ballad Version)”

Grade: C+ 

Review: Ayumi Hamasaki, I am...

                With her fourth studio album I am…, Ayumi Hamasaki forged a new sound for herself. She merged rock with electronica to create an interesting and compelling album that stands out amongst her earliest work. Released at the height of her career, I am… remains one of her most cohesive works to date.

                Structurally, I am… is masterful. It is separated into three parts – an introduction started by the opening track (“I am…”), segues into its rock-electronica body, and concludes with a ballad-heavy set with each section separated by instrumental interludes. This gives the album an excellent flow and its construction works in its favour. “UNITE!” and “evolution,” taken from its second section, are two of Hamasaki’s most iconic songs. They combine the aforementioned genres of rock and electronica brilliantly to create a fantastic arena-ready sound perfect for rocking out and their strong messages of harmony and humanity resonate powerfully. “NEVER EVER,” “Still Alone,” and “Daybreak” also serve as standout tracks with incredibly moving choruses that drive hard with pulsating instrumentals and solid vocals. The final section of the album is headed by “M” – an operatic rock ballad borrowing orchestral elements to give Hamasaki one of her most epic songs to date. Unfortunately, “A Song is born” and “No More Words” fail to capture the strength of their predecessor with the former falling flat as a forgettable ballad despite its heartfelt message of peace. Picking up the set, however, is “Dearest.” The moving ballad features lyrics of undying love and is one of the most emotional vocal deliveries Hamasaki has given. I am… concludes with a remixed version of “Endless Sorrow” and the hidden track “flower garden.” The newly remixed “Endless Sorrow” is almost weightless in its composition and is reminiscent of the work done by the rock group U2. The final track, “flower garden,” is a brilliant gem of electronica that has gone on to become one of her most frequently performed songs on tour. Regrettably, it is unavailable on its own and is instead tacked on to the end of “Endless Sorrow.”

                Listening to I am… is sure to be a nostalgic experience for many. It features some of Hamasaki’s most iconic works and begins what would be her move towards a more rock-oriented sound with her later albums. It is easily one of her most compelling records and is structured beautifully. It is a brilliant piece of J-pop history and must not be missed.

Recommended Listening: “UNITE!,” “evolution,” “NEVER EVER,” “Still Alone,” “Daybreak,” “M,” “Dearest,” “flower garden”

Grade: A-

Review: Ayumi Hamasaki, A BEST

                With only three albums under her belt at the time, Ayumi Hamasaki’s record company decided to cash in on her success with a best of compilation. Surprisingly, it works well. It works very well. Pulling tacks from A song for xx, LOVEppears and Duty, A BEST presents a snapshot of Hamasaki’s early career showcasing her remarkable ability to adapt to various musical styles and her admirable lyrical honesty.

                A BEST borrows most of its content from her widely successful sophomore album LOVEppears with seven of its sixteen tracks appearing from that record. Interestingly enough, these songs vary greatly in genre. The piano ballads “LOVE ~Destiny~” and “TO BE” are fairly standard. They are restrained in their simplicity and are perhaps a little too predictable. Where LOVEppears’ material shines is not in its ballads but in its up-tempo songs present here. The rock-infused dance hit “Boys & Girls” is arguably one of Hamasaki’s most infectious records and is perhaps one of her most well-known songs with its bouncing rhythm and Hamasaki’s poppy vocal execution. “Trauma” and “Fly high” take a similar approach but are more synthesized in their delivery. “Trauma” follows “Boys & Girls” closest in its formula and construction which works both for and against it. It is catchy and lively. “Fly high” goes a step further and stands out as the most energetic track on the compilation with its light rapping by Hamasaki and its jumping beat. Where Hamasaki flexes her muscles, however, is on the material from Duty. She experiments with Asiatic sounds on “vogue,” mixes rock with electronica on “Far away,” and renders one of her most well-remembered ballads with “SEASONS” yet it is “SURREAL” that remains strongest of the tracks from the Duty-era. “SURREAL” is a multi-genre song taking elements from pop, rock and electronica, ultimately serving as a precursor to the material found on her fourth studio album I am…. Hamasaki also provides a special treat in the form of the re-recorded tracks from A song for xx – “A song for xx,” “Trust,” and “Depend on You.” She eschews the original recordings in favour of newly mixed versions that serve to illustrate her growth as a musician and vocalist. They are marked improvements over the originals as her vocals are more polished and emotive.

                It is important to remember that A BEST is not a greatest hits but rather a best of, providing a cross-section of Hamasaki’s early work. It is not all-encompassing and there are quite a few omissions – the most glaring being the crowd-pleaser “AUDIENCE” from Duty. Additionally, it includes the then-new song “M” which seems slightly out of place as it is the sole track from the I am… era. Nevertheless, A BEST is a brilliant collection and is an excellent primer for those interested in being introduced to Ayumi Hamasaki or J-pop in general.

Recommended Listening: “A song for xx,” “Boys & Girls,” “Trauma,” “Fly high,” "vogue," “SURREAL,” “Who…”

Grade: A