BAT OUT OF HELL 3: THE MONSTER IS LOOSE (AUDIO)
There's no way to talk about this CD without giving a nod to the unlikely history of Meatloaf. Before anything, there was his cameo in ROCKY HORROR as Eddie. HOT PATOOTIE is a great Rocky Horror song and one of the very few non-Steinman Meatloaf classics. Forgetting about that for a moment, BAT OUT OF HELL was one of my very first favorite albums. It was epic, grand - it had lots of drama and most of all, it sounded awesome. To this day I still listen. There are 7 songs - all perfect. The title track, Paradise, 2 out of 3, Heaven Can Wait and the stunning 10 minute closer, FOR CRYING OUT LOUD.
Meatloaf became a household name after that album dropped in 1977, and it was one of the few albums to have the artist on the cover, yet feature WORDS & MUSIC BY JIM STEINMAN as well. You see - Steinman is Dr. Frankenstein and Meatloaf is the Monster. Meatloaf has NEVER written a song on his own that was any good. He's had a few non-Steinman hits, but far and wide, Meat is at his best when he's singing Steinman. In this little hub of music, think of Steinman/Meatloaf as you would Elton/Bernie Taupin. It doesn't really work without the other.
After BAT 1, Meatloaf had a nervous breakdown and lost his voice. Steinman, who had been preparing their follow up, BAD FOR GOOD, ended up using the material as his debut solo album, which, frankly - Steinman had the writing chops but not the pipes, though some of his song deliveries are not bad.
There's no way to talk about this CD without giving a nod to the unlikely history of Meatloaf. Before anything, there was his cameo in ROCKY HORROR as Eddie. HOT PATOOTIE is a great Rocky Horror song and one of the very few non-Steinman Meatloaf classics. Forgetting about that for a moment, BAT OUT OF HELL was one of my very first favorite albums. It was epic, grand - it had lots of drama and most of all, it sounded awesome. To this day I still listen. There are 7 songs - all perfect. The title track, Paradise, 2 out of 3, Heaven Can Wait and the stunning 10 minute closer, FOR CRYING OUT LOUD.
Meatloaf became a household name after that album dropped in 1977, and it was one of the few albums to have the artist on the cover, yet feature WORDS & MUSIC BY JIM STEINMAN as well. You see - Steinman is Dr. Frankenstein and Meatloaf is the Monster. Meatloaf has NEVER written a song on his own that was any good. He's had a few non-Steinman hits, but far and wide, Meat is at his best when he's singing Steinman. In this little hub of music, think of Steinman/Meatloaf as you would Elton/Bernie Taupin. It doesn't really work without the other.
After BAT 1, Meatloaf had a nervous breakdown and lost his voice. Steinman, who had been preparing their follow up, BAD FOR GOOD, ended up using the material as his debut solo album, which, frankly - Steinman had the writing chops but not the pipes, though some of his song deliveries are not bad.
When Meatloaf came back to earth, they released DEAD RINGER, which sounded like a bad impression of BAT 1, and had a song called MORE THEN YOU DESERVE, in which Meatloaf walked in on his girlfriend as she was being gang-banged by all his friends. The opening, PEEL OUT tried to be some sort of sequel to BAT OUT OF HELL, but sounded dulled out and Meat's voice sounded like it was recorded at the wrong speed. There are those who like this CD, but it's just not the goods. The only real hit was READ EM AND WEEP - which still holds up, despite Meat's flinty vocal, which works well in this song. The song was later recorded by both MANILOW and STREISAND and became a hit for each of them.
Meat and Steinman went their seperate ways - apparantly they really don't get along. Steinman went on to do some albums with Air Supply (Making Love Out Of Nothing At All - classic Steinman,) Bonnie Tyler ("Total Eclipse of the heart" and "Holding out for a hero" clearly sound like BAT 1 - as well as Celine Dion "It's All Coming Back To Me Now."
Meat and Steinman went their seperate ways - apparantly they really don't get along. Steinman went on to do some albums with Air Supply (Making Love Out Of Nothing At All - classic Steinman,) Bonnie Tyler ("Total Eclipse of the heart" and "Holding out for a hero" clearly sound like BAT 1 - as well as Celine Dion "It's All Coming Back To Me Now."
He even did another album called PANDORA'S BOX which featured him and some others - but it didn't quite take - despite good songs and lofty ambitions. It did give Steinman his first and only radio hit, ROCK AND ROLL DREAMS COME THROUGH. (Later made a hit again by Meat on BAT 2.)
Later, Meatloaf went on to record a shitload of mediocre cds and started touring exensively. Of all his solo outings, only THE RAZOR'S EDGE from the same name CD was any good. But barely. He recorded a smattering of Steinman penned songs after that, but it seemed like all the passion from BAT 1 was dead.
I remember then being in MODY DISC in the valley and being shocked to find a pre-release copy of BAT OUT OF HELL II: BACK INTO HELL. I didn't know what to think - I was such a huge fan and somehow I had no idea this was even happening. I quickly became addicted to the CD as lightening struck twice and this CD had a similar passion as the first BAT. From the opening of that sterling piano on ANYTHING 4 LOVE, to Steinman's re-recorded ROCK AND ROLL DREAMS, to IT JUST WON'T QUIT - Meatloaf was back in a BIG way. There was the 13 minute opus OBJECT IN THE REARVIEW MIRROR and the beatiful closing LOST BOYS & GOLDEN GIRLS. The two CDs together seemed to tell a dramatic story with humor about growing up, sex, women, motorcycles - this was like Springsteen amped up to a 30 in over-the-topness - but Steinman's gift of melody and turn of phrase, along with Meatloaf's rebounded voice made this a major winner - even more shocking, it sold on par with BAT 1 - becoming a true comeback story that sounded like a fairy tale. How could this CD, 17 years after the first, become such a monster hit? Because, with the sole exception of an unfortunate, metal sounding LIFE IS A LEMON - the CD was again, nearly perfect.
Later, Meatloaf went on to record a shitload of mediocre cds and started touring exensively. Of all his solo outings, only THE RAZOR'S EDGE from the same name CD was any good. But barely. He recorded a smattering of Steinman penned songs after that, but it seemed like all the passion from BAT 1 was dead.
I remember then being in MODY DISC in the valley and being shocked to find a pre-release copy of BAT OUT OF HELL II: BACK INTO HELL. I didn't know what to think - I was such a huge fan and somehow I had no idea this was even happening. I quickly became addicted to the CD as lightening struck twice and this CD had a similar passion as the first BAT. From the opening of that sterling piano on ANYTHING 4 LOVE, to Steinman's re-recorded ROCK AND ROLL DREAMS, to IT JUST WON'T QUIT - Meatloaf was back in a BIG way. There was the 13 minute opus OBJECT IN THE REARVIEW MIRROR and the beatiful closing LOST BOYS & GOLDEN GIRLS. The two CDs together seemed to tell a dramatic story with humor about growing up, sex, women, motorcycles - this was like Springsteen amped up to a 30 in over-the-topness - but Steinman's gift of melody and turn of phrase, along with Meatloaf's rebounded voice made this a major winner - even more shocking, it sold on par with BAT 1 - becoming a true comeback story that sounded like a fairy tale. How could this CD, 17 years after the first, become such a monster hit? Because, with the sole exception of an unfortunate, metal sounding LIFE IS A LEMON - the CD was again, nearly perfect.
All the start aligned and the thing just worked brilliantly.
After Bat 2, things got dicey again. Meat and Steinman fell out of favor yet again - however, Meat continued to record.
After Bat 2, Meat has a new audience and the next CD was WELCOME TO THE NEIGHBORHOOD, which was actually a pretty decent non jim-produced Meat CD. It featured the biggest non-Steinman Meat song ever, I'D LIE FOR YOU (AND THAT'S THE TRUTH.) - A Dianne Warren penned duet that sounded a LOT like ANYTHING 4 LOVE (truth be told.) It also had 2 Steinman songs - Heat Of The Night (forget the exact name) which completely sounds like a BAT song, ("All I wanted was a piece of the Night") and even better, LEFT IN THE DARK, another 8 minute Steinman masterpiece. I don't know who produced it, but it sounded like a real Meat/Steinman classic.
All in all, an OK effort.
Then there was a hideous live album MEATLOAF LIVE ALL OVER THE WORLD that kinda sucked, which mystifies me, because they have a superb live band - but they had really bad, muddy mixes and strange vocals from Meat.
Then there was a hideous live album MEATLOAF LIVE ALL OVER THE WORLD that kinda sucked, which mystifies me, because they have a superb live band - but they had really bad, muddy mixes and strange vocals from Meat.
You are better off with the CD MEATLOAF STORYTELLERS. Sounds a lot better - but there is a very popular bootleg called TO HELL & BACK which is a superb document of the BAT 2 tour. (Why there isn't a proper Bat 2 era DVD is another mystery.)
Then a few years ago Meatloaf did an album with Nikki Six of Motley Crue which yielded only one modest hit - DID I SAY THAT - and no contributions from Steinman. The worst post BAT 2 CD ever.
And now, the following is all based on various stories I've heard, but there seems to be some truth in all the acounts.
Meatloaf saw Steinman on the street a few years ago and Steinman said "Let's do BAT 3- I have a bunch of songs." As a warm up, they recorded some new tracks for THE VERY BEST OF MEATLOAF - 3 tracks, GOTTA GET HOME BY NOW, which has lyrics by Steinman and music by Andrew Lloyd Webber - it's quite good. Two more tracks from that were A KISS IS A TERRIBLE THING 2 WASTE and there was another - and they all sounded kind of BATesque, if not quite the same thing.
So here is the story of BAT OUT OF HELL 3. This is all depending on who you talk to - but common speculation is this. Steinman wanted to do Bat 3. Meatloaf, of course, wants to do it - these are really the CDs that he builds his legend on - so Steinman contributes some songs and Meatloaf doesn't really love them. (This from the man who picked the worst song on the HEDWIG soundtrack to record. Still, he uses 7 of Steinman's songs - none written expressely for the the project - but so what - Bat Out Of Hell 2 featured at least a third of re-used Steinman songs.
Then a few years ago Meatloaf did an album with Nikki Six of Motley Crue which yielded only one modest hit - DID I SAY THAT - and no contributions from Steinman. The worst post BAT 2 CD ever.
And now, the following is all based on various stories I've heard, but there seems to be some truth in all the acounts.
Meatloaf saw Steinman on the street a few years ago and Steinman said "Let's do BAT 3- I have a bunch of songs." As a warm up, they recorded some new tracks for THE VERY BEST OF MEATLOAF - 3 tracks, GOTTA GET HOME BY NOW, which has lyrics by Steinman and music by Andrew Lloyd Webber - it's quite good. Two more tracks from that were A KISS IS A TERRIBLE THING 2 WASTE and there was another - and they all sounded kind of BATesque, if not quite the same thing.
So here is the story of BAT OUT OF HELL 3. This is all depending on who you talk to - but common speculation is this. Steinman wanted to do Bat 3. Meatloaf, of course, wants to do it - these are really the CDs that he builds his legend on - so Steinman contributes some songs and Meatloaf doesn't really love them. (This from the man who picked the worst song on the HEDWIG soundtrack to record. Still, he uses 7 of Steinman's songs - none written expressely for the the project - but so what - Bat Out Of Hell 2 featured at least a third of re-used Steinman songs.
Then Steinman doesn't get a producing credit on BAT 3, and all Hell breaks loose. Steinman takes Meat to court over the use of the name BAT OUT OF HELL - a judge orders that Meat can use it, under Steinman's provision that they both "just leave each other alone."
So Bat 3, the end of the trilogy (sure) is here. Meatloaf went out and got Desond Child to produce it - a producer known mostly for his bland top ten hits. He also turns out to be a decent mimic of Jim Steinman - but not that decent. Mealoaf's use of him, and Nikki Six from Motley Crue - none of this is really a good sign - but the speculation is over and the CD is out - so, at this point I've put so much ink on the subject, here is a song by song review of the new CD.
1 - THE MONSTER IS LOOSE - Non-Steinman. A cool rock song - it's been available on the web for about 5 months now - but it's no BAT OUT OF HELL - it barely seems like it belongs on this CD. I don't know why Meat thinks his future is in hard rock - and even though this track sort of works, as the opening number? Where is the sterling piano notes? The motorcycle sound effects? The continuity?
This is okay - but as the opener - unforgivable.
Monster Is Loose Grade: B -
2 - BLIND AS A BAT - Non-Steinman. Now we're talking - of all the non - Steinman songs, this is the most BAT like and probably the best track on the cd. Maybe even the best non-steinman moment of Bat's career. And it's a great imitation of Jim Steinman like grandeur. This is probably what they should've opened with.
Blind As A Bat: A -
3 - IT'S ALL COMING BACK TO ME - Meatloaf revisits this hit for Celine Dion that Steinman wrote & produced (originally - for the very first BAT cd) - and comes up with a winner. It's a shame the song is completely fucked out since this was a hit back when BAT 2 was around, but it sounds good.
Grade: B +
4 - BAD FOR GOOD - A Steinman classic, with some Brian May on guitar giving it a Queen sound - and a decent arrangement. Meat once said he would never record this song, but I'm glad he did. This is kind of like OUT OF THE FRYING PAN in BAT 2. In fact, this song sound more like BAT 2 then anyother song on the CD.
Grade: B +
The rest - not so good. ALIVE is okay. SIEZE THE NIGHT is a Steinman oldie from an aborted BATMAN play - not so great. And when Steinman doesn't produce Steinman songs - it never quite sounds right.
THE FUTURE JUST AIN'T WHAT IT USED TO BE is another cool Steinman oldie - first recorded for PANDORA'S BOX. This song actually starts out pretty good until Meat, on the 3rd duet on this disc (you can see his mind working overtime, knowing that some of his biggest hits have been duets), starts singing with Jennifer Hudson. It's real good - but I would rather had a stripped down production and let Meat sing his heart out without a partner. The disc really needed a song like that. Just Meat and a Piano playing a Steinman composition. That's usually the best recipe.
There's a Diane Warren penned CRY FOR ME which sounds like a bad 80s reject.
LAND OF THE PIGS is a Steinman and not of my favorite genre - very much in the LIFE IS A LEMMON variety.
The CD ends with CRY TO HEAVEN, another plundered Steinman song from the 80s. It's just ok - a 2 minute wrap up that sounds more like an Irish folk tale then a cohesive end to the Bat saga, but I guess this is an okay ending. At least we got it.
But it's hard to imagine what might've been. Had this been an all Steinman affair - but who knows if it ever would've come out? I'm betting it would've been what we were really waiting for.
Where are the pianos? The great choruses? The 12 minute standouts? The sly humour? None of this is present. But at least it's a new Meatloaf CD with Steinman songs on it. It doesn't really feel like a BAT record - but the saga probaly ended with BAT 2.
GRADES:
BAT OUT OF HELL 1: A +
BAT OUT OF HELL 2: A +
BAT OUT OF HELL 3: B -
The ultimate insult is that Jim Steinman and Meatloaf will probably never work again together after this, and all we get out of it is a sub-par BAT cd. Maybe Meat should've stopped while he was ahead. That said, here's hoping Meat And Jim reunite for some kind of BAT ENCORE, part 4, a 3 song EP DISC, something to put a more satisfying close on this epic that was such a part of my life growing up.
To see that awful no talent Katherine McPHee talking shit about Meatloaf and being really disrespectful, go here:
To see a wierd take on ANYTHING 4 LOVE, go here:
http://youtube.com/watch?v=5Fgpq0xP33o
Jim Steinman's great website, where you can find endless BAT stuff, articles, and best of all - crazy downloads (MP3s) From Steinman's demos of BAT OUT OF HELL to complete free Meatloaf shows from the late 70s. Awesome, awesome sight.
http://www.jimsteinman.com/bottom.htm
another way to get in:
http://www.jimsteinman.com/whatsnew.htm
DEXTER (showtime)
After last week's slow-paced but always good hour, this week ratched things up quite a few notches. Dexter seems to be in deep shit - both with his work, his sister, his girlfriend and his freedom. The twists were great and even the actors I thought were poorly cast turned in great performances in this ep.
Grade: A
Jim Steinman's great website, where you can find endless BAT stuff, articles, and best of all - crazy downloads (MP3s) From Steinman's demos of BAT OUT OF HELL to complete free Meatloaf shows from the late 70s. Awesome, awesome sight.
http://www.jimsteinman.com/bottom.htm
another way to get in:
http://www.jimsteinman.com/whatsnew.htm
DEXTER (showtime)
After last week's slow-paced but always good hour, this week ratched things up quite a few notches. Dexter seems to be in deep shit - both with his work, his sister, his girlfriend and his freedom. The twists were great and even the actors I thought were poorly cast turned in great performances in this ep.
Grade: A
NIP/TUCK (F/X)
Matt is marrying Kimber and having a baby.
Boblit was back, and so was the drug dealer from the first season.
As well as the guy playing his underling, who's now on THE CLOSER.
I should really remember his name, but I don't.
This show is ridiculous.
And somehow I can't stop watching.
I don't know what kind of grade to give it.
It makes no sense, but it somehow works.
Grade: ?
PRISON BREAK (FOX)Has anyone noticed that this scrappy show has become one of the best guilty/smart pleasures of the entire season. There are more twists and turns then you can count, and the narrative drive seems to be working. And three cheers for the return of Anthony Dennison as their CIA pop!
Grade: B +
AMERICAN DAD (FOX)Stan goes gay.
Ho hum.
Grade: C
COMIC EVANGELISTS (AFI FILM SELECTION - THE ARCLIGHT)
The Girl dragged me out to the Arclight to see this film - an AFI film festival "mockumentary" about comic evangelists. This could not have sounded worse - yet it turned out to be one of the better films and funnier films I've seen all year. The take on the subject matter is hilarious and the acting is top notch and best of all - it was actually subtle. Great job.
Grade: B +
E.R. (NBC)
Forrest Whitaker rocks.
Mario Van Peebles seemed kind of verbosely retarded when he guest hosted on EBERT & ROEPER on Sunday. He's really taken with himself.
HOUSE OF CARTERS (E!)
Somehow growing on me - but those two kids are ready to kill each other.
Grade: C
STUDIO 60 (NBS)
Continues to kind of suck with the one exception of snappy, suprising dialog. Otherwise - this week, with the kind of bimbos that Sorkin only dreams about and the pitiful homeless man reminded me of the WEST WING ep where Toby stopped the whole White House to deal with a homeless person. This show is going down fast and hard. The whole thing with the black comic they hired - fucking ridiculous.
Grade: C -
NIP/TUCK (F/X)
Another decent episode - although it was hard to stomach Liz and Alanis Morrisette. I think the Sean/Julia romance may finally be coming to an end.
Grade: B
MY CHEMICAL ROMANCE (CD)
A great new CD, with the standout track being "CANCER." This kind of sounds like a more sophisticated Green Day - but no surprise, they share a producer. Still, I'm listening to this a LOT and it gets better with every listen.
HOWARD STERN - UNCLEAN BEAVER (CD)
A CD from the old days - his first I think. Mostly sub-par, but a few standouts, like 50 WAYS TO RANK YOUR MOTHER and NEIL YOUNG'S CAT. Otherwise it's dated badly.
Grade: C -
Matt is marrying Kimber and having a baby.
Boblit was back, and so was the drug dealer from the first season.
As well as the guy playing his underling, who's now on THE CLOSER.
I should really remember his name, but I don't.
This show is ridiculous.
And somehow I can't stop watching.
I don't know what kind of grade to give it.
It makes no sense, but it somehow works.
Grade: ?
PRISON BREAK (FOX)Has anyone noticed that this scrappy show has become one of the best guilty/smart pleasures of the entire season. There are more twists and turns then you can count, and the narrative drive seems to be working. And three cheers for the return of Anthony Dennison as their CIA pop!
Grade: B +
AMERICAN DAD (FOX)Stan goes gay.
Ho hum.
Grade: C
COMIC EVANGELISTS (AFI FILM SELECTION - THE ARCLIGHT)
The Girl dragged me out to the Arclight to see this film - an AFI film festival "mockumentary" about comic evangelists. This could not have sounded worse - yet it turned out to be one of the better films and funnier films I've seen all year. The take on the subject matter is hilarious and the acting is top notch and best of all - it was actually subtle. Great job.
Grade: B +
E.R. (NBC)
Forrest Whitaker rocks.
Mario Van Peebles seemed kind of verbosely retarded when he guest hosted on EBERT & ROEPER on Sunday. He's really taken with himself.
HOUSE OF CARTERS (E!)
Somehow growing on me - but those two kids are ready to kill each other.
Grade: C
STUDIO 60 (NBS)
Continues to kind of suck with the one exception of snappy, suprising dialog. Otherwise - this week, with the kind of bimbos that Sorkin only dreams about and the pitiful homeless man reminded me of the WEST WING ep where Toby stopped the whole White House to deal with a homeless person. This show is going down fast and hard. The whole thing with the black comic they hired - fucking ridiculous.
Grade: C -
NIP/TUCK (F/X)
Another decent episode - although it was hard to stomach Liz and Alanis Morrisette. I think the Sean/Julia romance may finally be coming to an end.
Grade: B
MY CHEMICAL ROMANCE (CD)
A great new CD, with the standout track being "CANCER." This kind of sounds like a more sophisticated Green Day - but no surprise, they share a producer. Still, I'm listening to this a LOT and it gets better with every listen.
HOWARD STERN - UNCLEAN BEAVER (CD)
A CD from the old days - his first I think. Mostly sub-par, but a few standouts, like 50 WAYS TO RANK YOUR MOTHER and NEIL YOUNG'S CAT. Otherwise it's dated badly.
Grade: C -
SNL: THE BEST OF DARYL HAMMOND (NBC)
They did their best to remind us that Daryl Hammond has done a LOT of different characters on the show. He's really unrecognizable in many of the roles and possibly the same type of go to guy that Phil Hartman was - though not nearly as funny as Hartman. Still, this compilation of sketches reminds us why they kept Hammond in the mass firings over the summer. He's solid. I think Seth Myers has actually destroyed the WEEKEND UPDATE - he's bad. Real bad. The idea that he's head writer boggles my mind - but then again - this is SNL's worst year in a decade. That said - Amy Poehler single handedly keeps me tuning in - she might be the funniest lady on late nite left these days. And I actually miss Horatio Sanz - if for nothing else - his infectous laughter (who cares if they laugh - most of the sketches suck anyway) - and his demented "I'M CAROL!" were one of my old highlights. And I'd kill to see another BLOATER BROTHERS sketch - but I guess that's out of the question.
RESCUE ME (F/X) - 3rd Season Finale
Good show with a lot of resolutions you can guess from a mile away. And a dumb cliffhanger. Though I still kind of love this show for the dialoge, the characters, the vibe - if not the particular situations. And definintely not for Tatum O"Neal's over the topness.
Season Finale grade: B -
3rd SEASON GRADE: B+
TWILIGHT ZONE (SCI-FI)
Been watching a few of the old B&W eps that air virtually unct on sci-fi - almost had forgotten just how fantastic they are. The one with the kid who controls the town and everyone kisses his ass is superb.
They did their best to remind us that Daryl Hammond has done a LOT of different characters on the show. He's really unrecognizable in many of the roles and possibly the same type of go to guy that Phil Hartman was - though not nearly as funny as Hartman. Still, this compilation of sketches reminds us why they kept Hammond in the mass firings over the summer. He's solid. I think Seth Myers has actually destroyed the WEEKEND UPDATE - he's bad. Real bad. The idea that he's head writer boggles my mind - but then again - this is SNL's worst year in a decade. That said - Amy Poehler single handedly keeps me tuning in - she might be the funniest lady on late nite left these days. And I actually miss Horatio Sanz - if for nothing else - his infectous laughter (who cares if they laugh - most of the sketches suck anyway) - and his demented "I'M CAROL!" were one of my old highlights. And I'd kill to see another BLOATER BROTHERS sketch - but I guess that's out of the question.
RESCUE ME (F/X) - 3rd Season Finale
Good show with a lot of resolutions you can guess from a mile away. And a dumb cliffhanger. Though I still kind of love this show for the dialoge, the characters, the vibe - if not the particular situations. And definintely not for Tatum O"Neal's over the topness.
Season Finale grade: B -
3rd SEASON GRADE: B+
TWILIGHT ZONE (SCI-FI)
Been watching a few of the old B&W eps that air virtually unct on sci-fi - almost had forgotten just how fantastic they are. The one with the kid who controls the town and everyone kisses his ass is superb.
PAULA POUNDSTONE (BRAVO)
I think - not sure where I caught this - but she was surprisingly lucid, together and very very funny. She talked about her situation for a bit, but mostly it was the tight observational comedy that turned her into minor comedy star in the first place.
Grade: C+
ROSANNE: BLONDE & BITCHIN' (HBO)
Me & The Girl shut this down 10 minutes in after she started getting real current - talking about gay marriage and the president. Wow. How could this delusional unfunny woman be the same mind behind the genius sitcom ROSANNE? (Except for the final season.) That these two personas can coexist truly boggles the mind - this felt like it was taped in the 70s. Her jokes were old even back when the old wisemen were telling it to the Isrealites.
Grade: F
AMERICA'S NEXT TOP MODEL (CW)
Anchel left - I thought she was cute. But she's no model.
I think - not sure where I caught this - but she was surprisingly lucid, together and very very funny. She talked about her situation for a bit, but mostly it was the tight observational comedy that turned her into minor comedy star in the first place.
Grade: C+
ROSANNE: BLONDE & BITCHIN' (HBO)
Me & The Girl shut this down 10 minutes in after she started getting real current - talking about gay marriage and the president. Wow. How could this delusional unfunny woman be the same mind behind the genius sitcom ROSANNE? (Except for the final season.) That these two personas can coexist truly boggles the mind - this felt like it was taped in the 70s. Her jokes were old even back when the old wisemen were telling it to the Isrealites.
Grade: F
AMERICA'S NEXT TOP MODEL (CW)
Anchel left - I thought she was cute. But she's no model.
One last word about BAT 3 - it's quite good - better then many CDs out there - but if you're asking me to say it's a worthy finale' to the Bat trilogy rather then what it really is - just a good Meatloaf CD with some cool Steinman songs and some interesting new originals. To put this CD in the same category that includes HEAVEN CAN WAIT and OBJECTS IN THE REARVIEW - just doesn't work for me. The shame of this, is that had Meat just released this as a regular release, it probably would've come off better. But he promised us RETURN OF THE JEDI and delivered EPISODE III: REVENGE OF THE SITH. While BAT 3 isn't anywhere near as hideous a creature as SITH, or that entire 2nd cycle for that matter, it's not Bat 1 or even 2. But it's not GODFATHER 3, either.
Somewhere between Rocky 3 and Lethal Weapon 3.
My pleasure - what a funny understated film in the vein of THE OFFICE BBC - anyway i can grab a dvd of it - i'm hooked and want to show it to friends - MisterW.
ReplyDeleteps - you're perf. was top notch.
Great film.