Either way, the series has never again reached the heights of its pinnacle entries, “Silent Hill 2” and “Silent Hill 3,” which are considered two of the best and scariest video games of all time. “Silent Hill: Downpour” changes all of that. Almost.

In “Silent Hill: Downpour,” players take control of Pendleton Murphy, a convicted prisoner who has had a bit of a violent streak,and is being transferred to another prison. On its way, the bus travels through Silent Hill, and naturally crashes, sending Murphy into a nightmarish world that forces him to come face to face with his past.

Throughout the story, players learn more of Murphy’s mysterious past in clever ways as he fights to retain his sanity. While still not as compelling as “Shattered Memories,” “Downpour’s” plot is ahead of other recent entries, and Murphy and other supporting characters are charismatic and interesting.

Controls are a bit of a strange animal. They try to embody both old-school and new-school techniques. At times the camera moves freely, but in certain situations, the camera will become fixed, and give a frightening cinematic view. This works exceptionally well and the cinematic views are a real treat to fans of older horror games.

Combat on the other hand, can be unnecessarily frustrating. Murphy can only hold one melee weapon at a time, and they break after prolonged use. This can add tension to the game, but is often annoying when you accidently trade in your axe for a brick. It’s also hard as hell to actually hit an enemy, and Murphy is constantly just swinging at air. This works fine in the first half of the game, when you find yourself fleeing enemies instead of fighting them, but towards the end enemies are plenty and relentless, and it almost ruins the experience.

Luckily, the game is heavy on what really matters: scares. The foggy town is just as eerie as it’s always been, and the infamous Silent Hill “otherworld” is just as dark, rusty and terrifying as ever. The game has a tension that lacks in other games, especially in sequences where Murphy is chased by a red glowing entity which he cannot fight, meaning his only option is to run.

The locations of the game, ranging from an old orphanage to an underground mining tourist attraction, are lovingly crafted and fun to explore. The game offers several horrifically grand set pieces that really deliver the goods, such as a creepy school play that comes to life, and a terrifying mine cart ride that’s both disturbing and pulse-pounding. This is all accompanied by a surprisingly spooky score by Daniel Licht (of Showtime’s “Dexter”).

The game is pretty rough around the edges, graphically. You can tell it’s not a high-budget game, and at times the frame-rate drops, which can really take away from the atmosphere.

Despite technical shortcomings, “Silent Hill: Downpour” is mostly a joy to play. From its multiple joke endings to its countless references to past games, one can see the amount of love put into this game. It’s a trip worth taking, as long as you don’t mind the nightmares.

This trend doesn’t stop with his sixth LP, titled “Break It Yourself.” Despite the rather horrendous looking cover art, “Break It Yourself” is a hypnotic gem, and is Bird’s best effort since his 2007 masterpiece “Armchair Apocrypha.”

The album as a whole does not depart too much from Bird’s signature style, but it never has  sounded this good. Bird’s combination of vocals, guitar, violin, glockenspiel and excellent whistling adds new depth and soul to his folk style. The sound is old, but the style is fresh.

Bird begins the album with the moody echoing guitar plucking of “Desperation Breeds…” The song is the perfect choice for an opening track, providing both terrific lyrics and enchanting instrumental sections. “We keep breeding desperation,” Bird sings, “in this era of thieves, who keep stealing respiration from the tenderest of trees.”

It only gets better from there. “Give It Away,” the catchy first single, is one of the best songs on the album. With its changing tempos and beautiful vocal harmonies,  it’s sure to be a hit and a live favorite in the future.

Throughout the album, Bird succeeds at every little thing he attempts to accomplish. Whether it be a love song (The lullaby-like “Sifters”) or an ode to life itself (The cleverly named and lyrically genius “Near Death Experience Experience”), Bird executes the songs beautifully both instrumentally and vocally without breaking a sweat. There isn’t a moment in the album where he stumbles.

“Break It Yourself” isn’t short on the incredibly catchy folk anthems that Bird is famous for, either. “Eyeoneye” is arguably the best song on the album. It features everything you could want from an Andrew Bird song, including epic guitar parts and backup vocals, excellent whistling and an incredible building climax. This and the toe-tapping “Orpheo Looks Back” are just begging to be sung-along to.

It’s especially impressive that while the album is 14 tracks and over an hour long, no songs seem like unnecessary filler. Even the shorter instrumental tracks have standalone quality. Every song is expertly written and performed by Bird himself.

If anything detracts from the album, it’s the fact that it’s not revolutionary or completely new in any way. But even that doesn’t stop it from being nearly perfect in every other way.

In the album’s eight-minute-long closer “Hole in the Ocean Floor,” Bird sings, “I woke with a start…to hear all God’s creatures roaring again.”

The album itself roars as well, with the confidence and technical excellence of a true veteran; a master of his field.

With “Break It Yourself,” Andrew Bird defines himself not only as one of the greatest rock musicians of his time, but one of the greatest musical composers as well.

The creators of the new movie adaptation of the ‘80s Johnny Depp TV show “21 Jump Street” seem to think the same thing. It’s actually a line in the movie, except it’s spoken by a police chief, and he’s talking about an old undercover program. It’s this self-awareness that elevates “21 Jump Street” above its peers. It’s not so much an adaptation as much as a humorous homage or spoof. And it’s the funniest raunchy comedy to come out in a long time.

The film stars Jonah Hill and Channing Tatum, as Schmidt and Jenko, two under-qualified police officers who went to the same high school. Jenko was a jock bully, and Schmidt was a huge nerd (and a Slim Shady fan).

When they are training to become cops, they form a friendship, Schmidt teaching Jenko how to pass exams, and Jenko helping Schmidt to pass physical training.

After an embarrassing arrest mishap where Jenko realizes he doesn’t know the Miranda rights, the two enter a program that places them undercover in a high school, searching for the dealer of a dangerous new drug.

It also stars Ice Cube as their boss, and Dave Franco as a fellow student.

One of the most surprising aspects of “21 Jump Street” is the terrific chemistry between Hill and Tatum. The two really are an odd couple; comedy vet Hill as the chubby (yet not so much anymore) and smart goofball, and Tatum as the good-looking, yet incredibly stupid partner. Tatum is new to the raunchy comedy genre, and he actually does a tremendous job. He’s way funnier than one would expect him to be.

There’s an especially funny scene where, in order to get deeper undercover, the two have to take the drug that is making rounds in the school. It’s a situation that audiences of these types of comedies are familiar to, but the Hill and Tatum are just so hilarious together that it doesn’t matter.

Another funny aspect of the movie is how it plays with the idea of returning to high school years after you’ve left to find that what was cool isn’t cool anymore.

When trying to give tips to Schmidt, Jenko tells him that when carrying his book bag, the cool way is to “one strap it.” After seeing that the other students are using both straps, both panic.

He also tells him that to be cool, you just have to not give a crap. Unfortunately, now all the “cool kids” care about the environment and getting good grades.

When labeling the social groups, after naming the cool kids, nerds and jocks, they walk past a group of hipsters and Jenko says, “I don’t know what the hell those are.” It’s a humorous way of comparing how different the high school experiences now compared to when the show first aired.

Another surprising aspect of the film is how well the action scenes are choreographed and shot. The chase scenes are exciting and thrilling, and there’s a gut-busting scene with exploding chickens.

“21 Jump Street” is the biggest surprise of the year so far. It’s smart, funny, and unrelenting. Plus, there’s a surprise at the end that will please even the most hardened Hollywood cynic. If your a fan of gross-out, raunchy high school comedies like “Superbad” and “American Pie,” it doesn’t get much better than this.

Bad Racket, which is partially comprised of JCU alumni Thomas Fox and Adam Wagner, is sponsoring the Brite Winter music festival this Saturday at eight venues around Ohio City, completely free of charge.

The festival operates as its own non-profit entity under the Ohio City Inc. Community Development Corporation, but Bad Racket plans on helping make the festival as terrific as possible.

“[Brite Winter] began three years ago,” said Fox. “A bunch of people got together in the middle of February and had a goofy party in the park with a whole bunch of bands playing in the snow. It was a terrible idea. Cleveland in the winter time could be freezing cold and you never know when we could get two tons of snow dropped on our back porch. Naturally I was on board.”

And the festival has been growing steadily every year. “We had about four times the bands in 2011 as in 2010, and we’re keeping up that trend in 2012. Brite Winter is going to be very big this year,” said Fox.

Very big, indeed. A total of 40 groups will be playing the festival this year, many of them clients of Bad Racket, and coming from all over.

A lot of the bands are from northeastern Ohio, but there are also a sprawling collection of bands from all over the country, such as Wild Rompit from Philadelphia, Black Taxi from Brooklyn, Bad Veins from Cincinnati, Black Shades from Kentucky and Jack & the Bear from Michigan.

“I’m really excited about the geographic diversity,” said Fox. “You can’t see these bands playing around Cleveland very often, and definitely not for free.”

The venues are also part of the fun, with the list including Great Lakes Brewing Company, Bon Bon Bake Shop and Market Ave. Wine Bar. You can also purchase special tickets that get you travel mugs or pint glasses, and drinks at the venues.

How is Bad Racket able to make this festival free? “We’re not making it free, the community is,” said Fox. “There are literally hundreds of people pitching a little bit into a stone soup, including sponsors, business owners, community leaders, artists and musicians. The steering committee wanted to make something fully accessible, something that proved that winter here can be awesome if we choose to make it so.”

“Since Brite Winter is free, we can openly invite the entire region to come out and play, regardless of any predisposition to do otherwise.”

It sounds like if you’re a fan of good music and good spirits, Brite Winter Music Festival is calling your name. You might want to bring a jacket, though.

For more information on the festival, visit britewintercleveland.com

McAdams and Tatum play a couple, Paige and Leo, who are madly in love. But after a car accident, Paige ends up in a coma and wakes up with no memory of the last few years of her life – all the years she spent with Leo.

Leo has to not only get Paige to remember, but also to fall in love with him all over again. Great setup, right?

Director Michael Sucsy chooses to lump all of the problems in the beginning of the movie. An hour and a half in, I knew everything that needed to be resolved, but the cutesy romantic moments in the previews – the moments everyone was excited for, had only just begun and didn’t last long.

Luckily for the audience, the acting is genuinely captivating and charming. McAdams and Tatum have an energetic chemistry that made the characters believable and people I’d want to know.

Paige’s character is so funny throughout the movie. Rachel McAdams is really the perfect actress to play the part. There is a delightful scene where Leo informs her that she’s a vegetarian – something else she forgot after her accident – after she starts to eat a piece of bacon. McAdams plays this humor flawlessly as she picks the bacon back up when Leo walks out the door. It’s little scenes like these that the actors execute so well that make the movie work.

A movie categorized as a romantic drama goes heavy on the drama while sprinkling a few romantic moments in for good measure. For a movie whose title is “The Vow,” I’m not sure this was the way to go.

In the end, the movie ends up being more about family relationships rather than the specific love between two people.

If you’re looking for a cute and cuddly romantic film for Valentine’s Day, you’re better off watching one of the classic Hollywood love stories. “The Vow” seems like it should fit that description, but it’s more of a movie to catch on TV or rent with some friends.

Don’t be so quick to shell out your $12 for a ticket, plus $7 for candy, plus $12 more for your beautiful date.

The most romantic part of “The Vow” came at the end when the screen went black. Not to imply that the best part of the movie was the fact that it was ending, but at the end of the movie, text appears explaining what happened to the real-life couple that the film is inspired by.

Apparently, the woman never regained her memory of her husband, but he managed to make her fall for him again and they’re now happily married with two kids.

It really does show how in love someone can be when they fall in love twice. The problem is that feeling isn’t shown throughout the entire movie, which is probably what the director was going for but never really achieved.

“The Vow” is based on a beautiful real life story, has two great leading actors with fun chemistry, and some really adorable moments. It just doesn’t do enough to set itself apart from other films of the same genre to make itself a memorable classic in any way. It’s just standard fare. Nothing can save it, not even the two leads.

If you are too much of a sucker for romantic movies that you simply must go, see it with low expectations so you can at least justify your $20 with a feeling of fulfillment. It won’t change your life, but it’ll make that hour and a half a little more enjoyable. Plus, Channing Tatum is a hottie.

“The Vow” promised to be the go-to romantic film this Valentine’s Day. That’s just a promise that it couldn’t keep. Stick with the flowers and chocolate.

The Carroll News: How did you get the name Booboo?

Booboo Stewart: It’s really just a nickname from my parents.

CN: What was it like working with Rob and Kristin?

BS:  It was incredible! They’re very nice people. I wasn’t sure what they would be like at first but finally getting to meet them was really nice.

CN: Is it safe to say that your career blew up after “Eclipse”?

BS: It’s definitely getting closer and it’s going really good right now. It helps with music and roles for other movies.

CN: So I caught wind that you joined the “House of the Damned 3D” cast. Can you tell me what your role is going to be?

BS: Well, we’re still in negotiations so I can’t say much about it now. But I’m really excited to be a part of it.

CN: You are a quadruple threat. Do you have any other special talents?

BS: I can fold a shirt really fast!

CN: Out of everything that you do what is your favorite?

BS: Acting, for sure.

CN: In “Breaking Dawn,” Seth transforms into a wolf. What would you transform into?

BS: A monkey. They’re pretty cool.

CN: Was it fun playing a werewolf?

BS: It was great.  I wish I had more input on what it looked like but they did such an incredible job making it look so realistic.

CN: What was the hardest thing about transforming from a teenager to a teen wolf?

BS: The hardest part was doing the voice-overs and making the growling noise. It was more embarrassing than hard, actually.

CN: As far as your future, what would be your dream role?

BS: I would love to play Aladdin in “Arabian Nights.”

CN: So can you tell me what’s in store for Seth in “Breaking Dawn Part II”?

BS: I wish I could say! But there is definitely going to be a lot of new characters and action to look forward to.

CN: Other than the movies, do you have any other upcoming projects?

BS:  Well, I started in music so my sister and I still do our music. We will be going on tour in March. You should look it up, it’s called Digitour.

While there have been better years in terms of commercials, 2012 was no stinker, and was the first year where virtually all the commercials were on the Internet before they aired.

Car commercials dominated the slots, with Audi, Chevy, Volkswagen, Honda, Acura and Hyundai all having their own 30 seconds or more.

Volkswagen scored the most popular commercial, featuring a fat dog that couldn’t fit out the doggy door to chase cars. The adorable little guy starts his own workout routine until eventually he can fit through the door. Then, the commercial randomly cuts to the bar from “Star Wars” and an alien watching the commercial who says, “That was way better than the Vader kid,” alluding to last year’s Darth Vader ad. Darth Vader proceeds to choke him with the force.

It was all very cute, then confusing and had absolutely nothing to do with cars. It was almost as if Volkswagen didn’t have enough confidence in their four-legged friend, and shoehorned Vader in there at the last minute.

Acura’s “Transactions” had Jerry Seinfeld trying to bribe a man for his spot as the first owner of an Acura NSX. The bribes included an alien and a zip line around Manhattan, among other things. Unfortunately for Jerry, Jay Leno comes and steals the guy away with a jet-pack-flying-squirrel suit.

Another buzzed-about commercial was Honda’s “Matthew’s Day Off,” that featured Matthew Broderick returning to his “Ferris Bueller” roots.

After calling in sick to an acting gig, Broderick has adventures around town, including singing in a parade and going on a roller coaster, while almost getting caught by his boss. It was a geniusly made ad that paid terrific homage to the movie. At the end of the commercial Broderick even looks into the camera and says, “You’re still here? Don’t you have anything better to do? Go. Get going. Go.”

TaxACT and Doritos both had amusing commercials as well. TaxACT’s “Free to Pee” ad featured an adorable little boy in a pool and his struggle to find a bathroom, eventually returning to the pool.

Doritos had a few commercials, but its most popular was its “Man’s Best Friend” spot. In this semi-disturbing gem, a man sees what turns out to be his cat’s mangled dead body being buried by a dog. The dog gives him a bag of Doritos with a note saying, “You didn’t see nuthin.” The man happily accepts the bribe.

Plenty of trailers for highly anticipated summer movies aired also. “The Avengers” trailer was completely awesome, as expected, but the trailer that garnered the most excitement was “Battleship,” the new film adaptation of the classic board game.

“I’m most excited for that one,” said junior Ryan Zubal. “I can’t wait to see Rihanna act on the big screen.”

The most talked-about ad had to be Chrysler’s “It’s Halftime in America” ad. Starring Clint Eastwood, the ad was meant to inspire audiences with its American spirit. “This country can’t be knocked out with one punch,” Clint says. “We get right back up again. And when we do, the world’s going to hear the roar of our engines.” The commercial ends with the slogan, “Imported from Detroit.”

All in all it was a solid year in advertisements. All we have to do now is go out and buy a bunch of products we don’t need.

Now, it seems like these competitors could be the least of Nintendo’s worries. As it falls into financial trouble, Nintendo is looking to invest in the future.

The company has been through hard times before. After dominating the market with the original Nintendo Entertainment System, the Super Nintendo faced huge competition in the Sega Genesis, and in the past years, the Nintendo 64 and Nintendo Gamecube both failed to outsell their competitors.

The Nintendo Wii however, has sold almost 98 million units worldwide, and was the most successful console of this past generation. Also, the Nintendo DS has annihilated Sony’s PSP in the portable market. So then why the financial trouble?

A little over a week ago, the company released its quarterly earnings, and it wasn’t pretty. The company reported profits of $631 million for the October to December period, representing a 61percent quarterly drop. Forecasts have been significantly lowered to due these reports as well.

Nintendo has predicted a net loss of $838 million (ending in March 2012). If this holds true, it would mark Nintendo’s first annual loss in a full 30 years.

This is the result of a number of things. Nintendo’s newest portable, the 3DS, was launched with an extremely bloated $250 price tag. Along with that, the system had a pretty pitiful handful of launch titles. Its only two first-party releases were re-releases of classic Nintendo 64 games.

Sluggish sales forced the company to admit defeat and implement a premature price drop. After the system’s price was changed to $170, sales for the 3DS skyrocketed. Unfortunately, analysts have reported that they are selling at a loss.

Another reason for Nintendo’s recent struggles is its inability to support its current console, the Wii. Sales for the Wii have dropped, perhaps because there aren’t many more potential buyers, or maybe because a high quality game hasn’t come out for the system in ages.

Besides last year’s phenomenal “The Legend of Zelda: Skyward Sword,” the new releases for the system have been mostly boring collections of mini games and unsuccessful ports of games from other systems. Added to this, Nintendo has failed to import successful Wii games from Japan that have an audience in the United States.

Lucky for all the rabid Nintendo fanboys out there, the company isn’t worried. According to them, the 3DS will start garnering profit soon enough. New big name releases like “Super Mario 3D World,” “Resident Evil: Revelations” and the upcoming “Kid Icarus: Uprising” are finally drawing large amounts of people to buy the system.

Nintendo’s real secret weapon is that its new system, the Wii U, is going to be a revelution in gaming. The system, which is slated for a late 2012 release, is apparently three times as powerful as the Xbox 360, and boasts an interesting new controller.

Just like the Wii’s innovative Wiimote controller, the Wii U comes with a tablet controller, not unlike an iPad, which also is equipped with the standard controller buttons. The graphics on the tablet screen are just as powerful as they will be on your TV, and if you want, the games can be simply played on the tablet. Have to go somewhere but just can’t bear to tear yourself away from your brand new game? Simply change the setting so your game is on the tablet and you instantly have a portable gaming device.

In addition to that, the company has stated that they are entirely committed to bringing in third-party developers to make solid games, which was something the Wii was severely lacking. So far, feedback has been terrific from companies such as Capcom, Ubisoft and Electronic Arts.

Nintendo has also promised an all new online gaming service, The Nintendo Network. The company has infamously been stuck in the stone age when it comes to online play, and this is a huge step forward for them.

The Wii U’s goal is to win back the “hardcore gamer” audience that was turned off by the Wii’s casual attitude, while still maintaining that casual audience.

The future is uncertain for Nintendo. After being unveiled last year with a few awesome technology demos, the Wii U is said to be officially revealed in its final form at this year’s E3 convention. Nintendo is seriously hoping that after this year’s presentation, Wii would like to play.

Steve McQueen’s new film, “Shame,” which is now playing at Cedar Lee Theater, approaches the subject with a jolting seriousness and shines a light on the horrific consequences of an addiction that is as serious as any other.

Brandon (played by Michael Fassbender of “X-Men: First Class”) is a young Manhattan business socialite. He’s bright and charming. He has a successful career and owns a fancy downtown apartment. He goes out with co-workers, exercises regularly and has a fondness for classical music. Unfortunately, he also can’t go a few hours without being sexually active. Brandon is a sex addict, and the barrier between his two separate lives is slowly deteriorating.

He seeks sex from hookers, random strangers on the subway, and cannot even go a full day at work without pleasuring himself in the bathroom. Things are made all the worse when his sister Sissy (Carey Mulligan), who is equally troubled in a different way, crashes at his place unexpectedly and indefinitely.

If anything needs to be said about “Shame,” it’s that Michael Fassbender’s performance hits it out of the park. His turn as Brandon is visceral and unapologetic. You will be disgusted with the things Brandon does, yet at the same time sympathize with him. He is a man who is truly lost.

There is a scene in the film where Brandon goes crazier than usual and absolutely hits rock bottom. During these intensely graphic scenes (the film earns its NC-17 rating), Fassbender perfectly conveys the joylessness of Brandon’s uncontrollable compulsion. When he cries, you feel a black hole in your stomach.

Less impressive is Carey Mulligan’s performance as Sissy. Perhaps it’s the fault of the dialogue, but her character is unlikable for most of the film. She makes bizarre decisions and during their squabbles, you will usually find yourself siding with Brandon. Though, when the stakes are high, Mulligan showcases her character’s desperation for a human relationship with a lack of subtly the performance requires.

The problem with “Shame” is that while much of its nudity is necessary to the film, some of the scenes involving it are done just for shock value.

There are two scenes especially, that elevate the otherwise very believable brother-sister relationship of Brandon and Sissy to just plain bizarre.

McQueen directs with a deserved confidence. Many of the scenes are shot without cuts, giving them a theatrical vibe. There is a stunning scene in which Brandon goes jogging to escape what he would otherwise be doing. The camera follows steadily alongside him for about two minutes. It’s a scene that would be brutally dull if filmed another way, but McQueen makes it absolutely beautiful to watch.

Unfortunately he often overdoes it, and the results are painfully slow, such as a scene where the audience has to watch Mulligan pretend to be a professional singer for four whole minutes.

On the whole, “Shame” is effective and relevant. Its problem is that its slow pace and refusal to give any resolution is a weakness, not a strength.

Brandon’s story ends where it begins, and it’s a shame Fassbender wasn’t given more to do, more depths to sink to.

3/5 streaks

If the Wii had launched with “The Legend of Zelda: Skyward Sword,” things may have been different. Not only does the game finally deliver on the promise of incredible motion controls, but it is one of the greatest, most satisfying games of all time.

The story is pretty much what one would expect from a “Zelda” game. Zelda is in trouble, and the heroic Link must save her from the clutches of some evil entity through completing dungeons and battling bosses. But with “Skyward Sword,” the developers have tinkered with the classic “Zelda” formula. Having to deal with the limited power of the Wii, Nintendo has decided to opt out of a huge open-world area similar to “The Wind Waker” and “Twilight Princess” this time around. Instead, Link travels through the sky on a giant bird called a Loftwing, and can descend down to any of the three areas available: a forest, a desert and a volcano. The result is a tightened, much more streamlined experience.

Gone are overlong fetch quests between each dungeon. Nintendo has instead combined the dungeon experience with the levels before and after them. This may be a disappointment to those who love the sense of open-world exploration and discovery, but the areas in “Skyward Sword” are still gigantic, and an open world would have been more of the same.

In terms of graphics, the game is absolutely gorgeous. The art style perfectly combines the cartoonish charm of “The Wind Waker” and the mature sophistication of “Twilight Princess” into what is the perfect look for the series. The game uses a filter that makes far away objects and landscapes look like a breathtaking watercolor painting. Character models are all masterfully designed and unforgettable, especially the creepy new villain, Ghirahim. The game is visually a joy.

The real game-changer though, is the game’s perfect implementation of motion controls. The Wiimote acts as Link’s sword, and the control is more accurate and precise than any Wii game before it. Most importantly, it feels natural. This has changed the way the series deals with combat. You can’t simply engage an enemy and proceed to button mash or swing the controller wildly. If you do so, you will be destroyed in the game.

Every enemy requires a different strategy from the player, and whacking a goblin in the face has never felt so satisfying. This feeling is exemplified in the boss battles. The sword gameplay enacts a very “mano-a-mano” feel to these fights. There were times I found myself getting so riled up during certain boss fights that I stood up and shouted “bring it!”

The fact that this game can provoke this behavior from a grown man[child] speaks to how undeniably fun it is. The other motion gameplay is fantastic as well. Tilting the Wiimote to control your Loftwing is easy and engaging, as well as aiming with the Wiimote. It all adds to a sense of immersion rarely seen in games today.

The only things that can possibly outshine the motion controls are the characters themselves. Character development has never been a staple of the “Zelda” series, but this time the characters and their relationships are fully realized. By the end of “Skyward Sword,” you will genuinely care about the characters.

This version of Link could be the best of the series. He feels like a real person this time, rather than a vessel for the player. Zelda is absolutely adorable as Link’s childhood crush, and the members of the vast supporting cast all have personalities of their own.

Whether they be singing dragons, treasure hunting moles or pirate robots, you can tell the amount of love that was put into each character; in each little line of dialogue.

“Skyward Sword” is the model for the ideal video game. It looks beautiful, it’s loaded with content, and it’s a blast to play. It’s one of the most charming and stellar games of the year.

Most of all, it is, like every “Zelda” game before it: an instant classic.

5/5

Simon Pegg: It was very new for everybody, even Steven Spielberg because it was his first motion capture film. I think we were all on our first day of school to some degree and it was interesting that every day we were making new discoveries about the technology and about how to perform within it.

It’s different from live action shooting in that you don’t have your real, live sort of props and costumes. You’re working in a very imagined environment.  But you are still acting with other actors and moving around, so it’s different from just doing a voice over. It’s very much a new art form.

It was great fun to feel like we were breaking new ground. I know that Steven [Spielberg] was extremely inspired and energized by the process.

CN: “Tintin” is such a beloved series across the world. What was it like being part of such a beloved story?

SP: I think we all realized what we were taking on with “Tintin.” It’s a beloved story in Europe. It comes from Belgium and was made in France. [Also, it] certainly reached the shores of the U.K. when I was a kid, as I remember it very clearly being a sort of a “Saturday morning serial cartoon.”

Every day we had the whole studio lined with pictures from Herge’s works so we always had the characters in mind.

CN: You’ve done a lot of work with Nick Frost and Edgar Wright in the past.  Are there any current projects that you all are working on?

SP: Yes, Edgar and I are just writing the third film in a series that started with the “Shaun of the Dead” and “Hot Fuzz,” and Nick will be a big part of that. It’s currently entitled “Worlds End” and we’re very excited about it. I feel like those guys are my, you know, they’re my homies and that’s what I’d like to go back to.

CN: Your role in “Mission: Impossible – Ghost Protocol” is quite a bit different from your typical roles.  What did you have to do differently to prepare for it?

SP: At the time of “MI:3,” Benji worked in the research and development department. But since then he’s gone out and taken the field exam and is now sort of working out in the big wide world as an IMF agent. I just thought that was a great idea to see a guy who used to sitting around in the lab coat poking hard drives to actually be out there kicking ass. So the draw of it was just enormous. Also, anytime J.J. [Abrams] calls me I’m like, “What do you want? Where do you need me?” I always know it’s going to be a fun job no matter what it is. But in terms of research, I went undercover in Moscow for several weeks and cracked a ring of nuclear terrorists.

Normally seeing a picture of Adam Sandler just makes me queasy, but the poster was for a John Carroll sponsored event: Late Night Dinner and a Movie. I couldn’t believe my eyes. It was impossible that the school I love would sponsor such a harmful and grotesque event, and support a movie that literally makes people more stupid.

“But Ben, it’s just a movie.” I beg to differ. “Jack and Jill” is just the latest in a slew of Adam Sandler movies that have bombarded our movie theaters, tricked freedom-loving Americans into buying tickets, and then taken a dump on their brains. I’m not talking about classics like “Happy Gilmore” and “Billy Madison.” I’m talking about the garbage that Sandler has been putting out for the better part of the last 10 years. Not only are these movies extremely unfunny, but they also induce physical and mental disablement.

Don’t believe me? After seeing “Grown Ups” last summer, my sister forgot how to use stairs, and after an accident with an escalator, had to get spinal surgery. Back in high school, I went to see “You Don’t Mess With the Zohan” with my best friend Billy. I blacked out after the first fart joke, but I awoke five days later to find that I had completely lost control of my bowel movements, and that Billy was in a catatonic state. Luckily, I was able to pull through, but poor Billy never recovered. He still will only respond to Nick Swardson impersonations.

Yet people are still falling prey to Adam Sandler’s shameless deception. All four of his recent movies have made over $30 million their opening weekend. Another disturbing statistic states that they all made over $100 million before ending their theatrical run.

“Jack and Jill” looks to be the worst of them all. The movie has Sandler playing twins named Jack and Jill (really?) who get together for the holidays, despite Jill being a real pain in the butt. It’s painfully cliché in the first place, but then you add Sandler dressed in drag,  you have a pure nightmare. My eyes bled for 15 minutes just after watching the trailer.

It may have been some kind of gross oversight, but John Carroll still needs to take responsibility for the event, and take measures to make sure it never happens again. In fact, we all need to take a stand. As my grandpa always said, “Every time an Adam Sandler movie is released, a puppy is eaten alive by cannibals.” If we refuse to buy the ticket, the movie won’t make money, and no more will be released. We can stop the cycle. If we don’t, there may be nothing to stop Sandler’s reign of hellfire from coming down upon us all.

The Carroll News: What made you want to start a record company?

Thomas Fox: Adam [Wagner] and I were friends at John Carroll. We met living in the dorms in Hamlin Hall and just had similar taste in music. We played some tunes together at JCU open mic nights. Adam, even at that time, was          really into recording and had years under his belt tinkering with home recording software. I had some previous experience recording at that time too, having spent time working on my own music and I took some audio engineering classes at Lakeland Community College prior to coming to JCU. Outside of music, we studied marketing [in the Boler School of Business] together, which is a huge part of how we decided to start a business together years later.

We met James Kananen in 2010, he was running the sound at the Grog Shop in Cleveland Heights, and had done a ton of live recording for bands from all over the country. At that time Adam had become very serious about audio production and collaboration with James only seemed to make things move faster. We got some warehouse space on the west side, started recording  and named the space Bad Racket in early 2010. When we recorded the first Live From Bad Racket music video that fall, we realized we were onto something good and filed paperwork to form the partnership.

CN: What kind of music is recorded at the studio?

TF: The studio itself doesn’t specialize in one particular genre as much as individual producers do. Indie rock, alternative country, grunge, Irish folk, punk, hip hop, metal; we’ve had bands in all of these genres come through. We actually love the diversity and hope to see things continue to branch out.

CN: Any obstacles you’ve had to overcome?

TF: Running any business [involves] non-stop obstacles and problem  solving. No part of it has been easy, and I don’t expect it will get easier. Gear breaks, sessions get canceled, money gets tight, clients become unhappy, rumors start, over booking, hardware crashes. The list goes on. This is the music industry [and] it’s crazy. That’s what is so awesome about it.

CN: What skills did you acquire at JCU that helped you start up this business and continue to run it?

TF: I took some diverse classes at John Carroll: strategic management, the history of Christmas, religious experience in literature, business law. Since I transferred [to John Carroll] I was only [there] for three years but I learned a ton. For me, most of what’s useful now aren’t hard skills, it’s, the situational stuff that helps me figure out how to make decisions.

CN: Tell us about Bad Racket’s recent one-year anniversary party.

TF: We decided that the “Live From Bad Racket” video shoot on Oct. 17, 2010 marked our official anniversary even though our LLC wasn’t filed until December 2010. We threw a party and invited all of our friends and clients to come and celebrate our first year on Oct. 21. Laine Seliga, Known as Ladybird, played some tunes for us with her boyfriend and our good friend Max Stern of Signals Midwest. Humble Home, a local folk rock group, took the stage for over an hour. They even played some new music which had not yet been played outside of their practice space.

We only had the two groups on the menu for the night but Thaddeus A Greene grabbed the microphone and a guitar to play a set with his drummer, Anthony Foti. It was probably around midnight when Tom Evanchuck and The Old Money strolled in to catch the end of Thaddeus’ set. They decided to unload their amps and keep the night going at Bad Racket. It was magical.

CN: What part of your job do you enjoy most?

TF: I meet a lot of incredible people on a regular basis, that’s what I like the best.

“Neighborhoods” is a pretty big deal. It’s the pop-punk trio’s first album in eight years, and the expectations have been mounting since the band announced that they intended to end their indefinite hiatus.

Fans looking for a return to the good old Blink-182 days of fart jokes, sex humor, and incessant juvenile behavior will be disappointed.

Those days have been over since the band’s 2003 self-titled LP. Unfortunately, those who are hoping for an effective, matured album similar to that one will be disappointed as well.

Mark Hoppus, Tom DeLonge and Travis Barker try to recapture that spirit, but while their efforts in experimentation are admirable, they ultimately fall flat.

While “Blink-182” the album may have been a drastic new direction for the band, it was still undoubtedly Blink-182. Almost every track on “Neighborhoods” is less like Blink-182, noticeable influences by Angels & Airwaves, DeLonge’s side project.

The synthesizers have been over-utilized, and many of the songs open with overly long instrumental introductions that are rarely engaging and usually repetitive.

DeLonge also continues to use reverb on his voice to an unbearable extent. This is especially noticeable on the track “Love is Dangerous,” in which he sings about the negative repercussions of an empty relationship.

Luckily, drummer Barker is just as good as he’s ever been. Easily the most musically talented member of the band, Barker has no problem setting the pace for the other members.

His beats in the album are fast and furious as usual, and their energy pulsates through every song.

“Wishing Well” is typical catchy pop-punk, but it’s a relief when you realize it’s just that. The familiar “nah nah nah nah” chorus will get stuck in your head, and you’ll be singing along if you’re seeing them live.

The album’s first single, “Up All Night,” is classic Blink-182, with DeLonge and Hoppus harmonizing perfectly like old times.

The strongest track, “Natives,” is just plain awesome. Everyone is in full form here, with Barker’s chaotic mosh-pit inducing drum

ming meeting with DeLonge and Hoppus’s guitar riffs perfectly.

It’s a shame that the song is brought down by the biggest weakness of the album: the song-writing has gone down a tier or two since their last album.

“I’m just a waste of your time/maybe I’m better off dead,” Hoppus sings in “Natives.” The lyrics in their last album were mostly downers, but they were well done and mature.

The word “heart” is mentioned at least once in every song, and so are trite clichés of the genre. It’s the most disappointing part of the album.

“Neighborhoods” is still an enjoyable easy listen. Hardcore Blink-182 fans will add a few tracks to their favorites, but no new fans will be gained from this album.

After a hiatus of this length, it could have been a lot worse. Hopefully, the boys are just warming up.

“Neighborhoods” is a pretty big deal. It’s the pop-punk trio’s first album in eight years, and the expectations have been mounting since the band announced that they intended to end their indefinite hiatus.

Fans looking for a return to the good old Blink-182 days of fart jokes, sex humor, and incessant juvenile behavior will be disappointed.

Those days have been over since the band’s 2003 self-titled LP. Unfortunately, those who are hoping for an effective, matured album similar to that one will be disappointed as well.

Mark Hoppus, Tom DeLonge and Travis Barker try to recapture that spirit, but while their efforts in experimentation are admirable, they ultimately fall flat.

While “Blink-182” the album may have been a drastic new direction for the band, it was still undoubtedly Blink-182. Almost every track on “Neighborhoods” is less like Blink-182, noticeable influences by Angels & Airwaves, DeLonge’s side project.

The synthesizers have been over-utilized, and many of the songs open with overly long instrumental introductions that are rarely engaging and usually repetitive.

DeLonge also continues to use reverb on his voice to an unbearable extent. This is especially noticeable on the track “Love is Dangerous,” in which he sings about the negative repercussions of an empty relationship.

Luckily, drummer Barker is just as good as he’s ever been. Easily the most musically talented member of the band, Barker has no problem setting the pace for the other members.

His beats in the album are fast and furious as usual, and their energy pulsates through every song.

“Wishing Well” is typical catchy pop-punk, but it’s a relief when you realize it’s just that. The familiar “nah nah nah nah” chorus will get stuck in your head, and you’ll be singing along if you’re seeing them live.

The album’s first single, “Up All Night,” is classic Blink-182, with DeLonge and Hoppus harmonizing perfectly like old times.

The strongest track, “Natives,” is just plain awesome. Everyone is in full form here, with Barker’s chaotic mosh-pit inducing drumming meeting with DeLonge and Hoppus’s guitar riffs perfectly.

It’s a shame that the song is brought down by the biggest weakness of the album: the song-writing has gone down a tier or two since their last album.

“I’m just a waste of your time/maybe I’m better off dead,” Hoppus sings in “Natives.” The lyrics in their last album were mostly downers, but they were well done and mature.

The word “heart” is mentioned at least once in every song, and so are trite clichés of the genre. It’s the most disappointing part of the album.

“Neighborhoods” is still an enjoyable easy listen. Hardcore Blink-182 fans will add a few tracks to their favorites, but no new fans will be gained from this album.

After a hiatus of this length, it could have been a lot worse. Hopefully, the boys are just warming up.

His new movie “50/50” has all the makings of your typical Judd Apatow comedy, with the exception that the main character has cancer. It’s heavier in the drama department, and Judd Apatow is in no way involved in the project. Don’t worry, Seth Rogen is in it, so there’s that.

Speaking of Judd Apatow, many will probably compare “50/50” to his last film, “Funny People.” Both films have main characters with cancer and are billed as comedies.

But these two movies could not be more different. For one, “50/50” is actually funny.

It’s not just funny, it’s hilarious. It’s also more dramatically effective. “50/50” is the rare movie that succeeds fully as both a drama and a comedy.

“50/50” follows the story of Adam (played by the excessively likable Joseph Gordon-Levitt), an average Joe who works at a radio station.

Adam plays everything extremely safe. He doesn’t smoke or drink, and is so overly cautious that he refuses to even drive a car. His overly cautious lifesytle makes it all the more surprising when he is diagnosed with a rare form of spinal cancer.

The story follows him as he deals with his predicament, aided by his therapist Katherine (Anna Kendrick), and his womanizing best friend Kyle, played by the omnipresent Seth Rogen (seriously, that man is in everything).

Also along for the cancer ride is Adam’s girlfriend Rachael (Bryce Dallas Howard), who may or may not be ready to help Adam through his difficult journey.

The story moves along with a brisk confidence that is not often seen in films this small.

The smart, semi-autobiographical script by Will Reiser is consistently funny and moving, and gives the actors room to give their characters depth.

Joseph Gordon-Levitt proves that he is one of the great actors of his generation. He has an amazing talent for playing the everyman. His performance is relatable, subtle, and real. Specifically, a scene in which he reaches a breaking point, showcases an Oscar-worthy performance.

Anna Kendrick is adorable as usual, playing a therapist who hasn’t even graduated school yet, but assures Adam that he is not her first patient (he’s actually her third). Bryce Dallas Howard works out of her usual comfort zone, playing a nauseatingly unlikable character who you feel sympathy for.

Seth Rogen gives a terrific performance as usual. But this time, Rogen gets to play a womanizer, instead of a dork who can’t get the girl.

As someone who’s grown incredibly sick of his overexposure in the past couple years, he’s great in the film and as goofy and hilarious as he’s ever been. Rogen’s performance was the biggest surprise of the movie.

It should be noted that even though this movie is about cancer, it is also raunchy as hell.

There are scenes of nudity and countless jokes about the male anatomy. They work 100 percent of the time and never take away from the character development or otherwise serious tone of the movie.

“50/50” is a movie that demands to be seen. Despite its few flaws (why can Adam ride in a car but not drive one?), it’s one of the better movies of the year, featuring a breakthrough performance by Gordon-Levitt.

But with their latest LP, “The Rip Tide,” Beirut has managed to put together a fine album that plays off their strengths, but is also their most accessible yet.

After one listen, no one would ever guess that Beirut’s front man, Condon, is from New Mexico.

Beirut’s Balkan folk rock sound has no problem being stuck in the past. Its worldly European aesthetic is what has made the band stick out so far.

With each new album, they have added more and more instruments to their repertoire, but with “The Rip Tide,” they have stripped down to just the bare Beirut necessities (piano, strings and horns). The worldly influences are still heard, but Condon and company have managed to forge their own unique voice, a record that is Americana at its heart.

In this small record, clocking in at just over 30 minutes, Condon packs just about everything the band has to offer.

If you want a sunny, more pop-oriented song, look no further than the opening track, “A Candle’s Fire.”

This is Beirut as you’ve come to expect them. Bouncing drums and flaring horns accompany one of Condon’s best vocals on the album. If you’re in the mood for a melodramatic ballad, you’ll want to listen to “Goshen” or the title track.

Both feature haunting piano melodies and beautiful vocal harmonies. Some may still find themselves dozing off during a listen, but they can be certain to wake up once the next song comes on. As an album, “The Rip Tide” is an energetic, baroque-pop-rock affair.

The first single, “Santa Fe,” is the best on the record, and represents one of “Rip Tide’s” biggest strengths. It wouldn’t sound too out of place on pop radio.

Condon sings of his hometown, backed up with beautiful string and horn arrangements, and an awesome keyboard part that breaks down barriers and demands that everyone nod their heads, or at least tap their feet.

Condon’s voice is probably the strongest aspect of the record. He’s grown up since the band released their first album in 2006, when he was only 19.

His voice has matured and become fuller and strong enough to counter the sometimes overpowering strings. It is sweet, sincere, and inviting, and its best friend is a mandolin.

It’s a short-listen album that packs the same punch as a long one.

It is both a terrific stand-alone effort and an important stepping stone for the band as they come into their own.

On the album’s gorgeous penultimate track “The Peacock,” Condon repeats “He’s the only one that knows the words.” After “The Rip Tide,”

I imagine a lot more people will come to know them.

Josh Klinghoffer, a former tour understudy for the band, has been promoted to the band’s eighth (yes, eighth) lead axe man. He fits in nicely with the band and lets the rest of them do their thing, which is mid-tempo funk pop rock songs.

“I’m With You” opens strongly with “Monarchy of Roses,” an energetic tune with plenty of attitude.  Effects distort Anthony Kiedis’s commanding vocals during the verse, and Flea dominates the chorus with a sharp disco-rock bass riff. Flea maintains this style for most of the album, probably influenced by his side project “Atoms for Peace” with dance-happy Thom Yorke.

“Brendan’s Death Song” is a rare somber ballad from these party planners. “I’m almost dead, I’m almost gone,” sings Kiedis before Klinghoffer breaks out the power cords and Flea and drummer Chad Smith finally get a chance to let loose with refreshing results.

On “Did I Let You Know,” they change things up with a mariachi-like horn section that can’t help but put a smile on your face and get you tapping your feet. A cheery piano and thumping percussion makes “Happiness Loves Company” stand out with the stronger tracks of the record.

Like its title, the song is pure happiness and the feeling is contagious. “Make time for love and your happiness,” Kiedis sings, “we all know and struggle with some loneliness.” The track is warm and welcoming, and tells the listener that we’re all in this together.

Unfortunately, these songs are counter-balanced by a large number of boring and lazy ones.

The album’s first single, “The Adventures of Rain Dance Maggie,” is stupid. The lyrics do not make sense and the verse is extremely boring.

The chorus would be OK, if it wasn’t the same chorus rearranged and used for more than half of the other songs on the album.

It’s a formula that works, but it makes listening to the album in one sitting a mind-numbingly dull affair.

Kiedis’s song writing abilities don’t get much better. In the gag-inducing “Look Around,” he sings about falling in love with a stripper.

In “Police Station,” he laments about a friend who has taken the wrong path in life. It’s all so corny it’s almost a relief when Kiedis abandons words for an embarrassingly simple scat in “Ethiopia.”

At least the album ends on a high note. “Dance Dance Dance” successfully makes you want to do just that. It’s an accessible tune that should have been the first single.

“I’m With You” is at the same time, both familiar and frustratingly stale. Even though the world has changed, the Red Hot Chili Peppers are still the same. I’ll let you decide if that’s a good thing.

“127 Hours” tells the extraordinary true story of Aron Ralston, the 27 year-old hiker who became trapped in a Utah canyon when his right hand was pinned under a boulder. 

After five days, he cut off his own arm with a dull knife in order to escape and survive. 

Don’t worry, I’m not spoiling anything. You’re supposed to know what’s going to happen in this movie. 

“127 Hours” is all about the anticipation rather than the actual event, and the ride there is incredible. 

The new movie directed by Danny Boyle (“Slumdog Millionaire”) stars James Franco (“Pineapple Express”) as Aron. 

Although the movie for the most part takes place in one spot, it is never dull and the viewer is never bored. 

The psychological suspense and deterioration of Aron’s physical and mental health are fascinating to watch. Boyle’s direction is a perfect fit.

Every frame bursts with energy that matches that of the main character. Boyle is able to take the camera anywhere, including the surface of a drop of water, and the inside of a straw. 

Boyle often uses split-screen imagery that shows the same event from different perspectives, or offers a glimpse into Aron’s mind while also staying in the action. 

Once Aron starts to slip away from sanity, we’re treated to some terrific trippy sequences, featuring clips from soda commercials and an inflatable Scooby Doo (It’ll make sense when you see it, trust me).

While Aron is stuck, he revisits many memories of his life. 

Boyle films these flashbacks perfectly. 

We never see a grown-up Aron in them, and most of the time they’re from his point of view. 

Boyle could’ve cheated and used the flashbacks to take us away from Aron’s predicament, but he is confident, and never allows Aron to leave the boulder. We are trapped with him.

While there is a supporting cast, “127 Hours” is basically a one-man show, and Franco is more than up for the job. His turn as Aron is by far his best performance and will be sure to land him a handful of nominations come awards season. 

His charming beach bum character is likable and interesting, but most importantly, he feels real. 

It’s rare when an actor disappears so completely into a role. 

While trapped, Aron keeps from going insane by recording a video diary with his camera. 

Franco particularly shines during these scenes, especially when Aron is interviewing himself, talking like a charismatic talk show host when asking questions.

Franco, amazingly, is able to make us laugh one second and then feel as hopeless as Aron the next.

And when the time comes for him to do what he must, we are ready with him. 

The amputation scene is intense, but those of you who are easily grossed out owe it to yourself to see Franco in this scene. He owns it.

There are good things all around to be said about this movie. 

The cinematography is gorgeous, the editing is absolutely perfect, A.R. Rahman’s score is captivating and moving. 

There’s even a perfectly placed Sigur Ros song at the end. But the real stars are Boyle and Franco, who are in top form. 

“127 Hours” is an inspirational triumph, a tribute to the strength that man is capable of when it comes to surviving.

 Their sound was described by critics as “a college-dorm experiment gone horribly right.”

The college-dorm duo is back with their sophomore effort “Congratulations.” 

VanWyngarden said that the album is heavily influenced by their massive rise in popularity. 

“It’s us trying to deal with all the craziness that’s been going on since our last album took off. Sometimes it just doesn’t feel natural.”

If there’s one word to describe this album, it’s unnatural.

Those hoping for “Oracular Spectacular” part two will be disappointed. There’s nothing on the album that sounds remotely like the first album’s gems “Kids” and “Time to Pretend.” MGMT has abandoned their techno-poppy sound and become an all- out psychedelic rock band.

The album opens with the undeniably catchy “It’s Working.” The song sounds like the Beach Boys on acid. VanWyngarden’s laid back voice combines with surf tune guitar riffs to create one of the highlights of the album.

Another bright spot on the album is “Song for Dan Treacy.” 

The song sounds like it’s straight out of the 60s. Its rock’n’roll beat, “doo-wop” backup vocals and electric organ makes it a real treat to listen to.

MGMT released “Flash Delirium” as the album’s only single on March 24, 2010. 

It’s a great choice for a single, as it successfully brings all the different elements of the album together for one four-minute song. It features flutes and horns, and a whole lot of synth. Retro influences are all over the place in this song. 

Elvis Presley and “Sergeant Pepper” era Beatles are the most prominent.  Although it’s great in the context of the album, it’s pretty bizarre by itself, so don’t expect to hear it on the radio.

Goldwasser and VanWyngarden clearly have fun with the lyrics. Most of the time they make little sense and are hard to read into. 

“I Found a Whistle” is a sweet little love song about a girl who will stay with you no matter what you’ve done. “Yeah I found a whistle that works every time, that’s when the trail escapes to nowhere, and the flood erases the crime,” said the lyrics.  

“Brian Eno” is a superb and hilarious tribute to English ambient music legend Brian Eno. “He taught me many things, the wisdom of bleak stratagems, the prophet of a sapphire soul, presented through creative freedoms…We’re always one step behind him, he’s Brian Eno, Brian Eno.” 

From its jingle-like chorus to VanWyngarden’s fake English accent, the song is pure fun.

The album’s best song though, is the epic twelve-minute “Siberian Breaks.”  

It is simply stellar. VanWyngarden describes the song, “It’s kind of like eight different songs strung together into one, and the general theme is about surfing in the Arctic Circle by Russia.” 

Each part of the song is completely different from the last, and the transitions are constant and without warning. Yet, the transitions sound natural, and really pull the song together. 

Starting out with gentle harmonies, then transforming into a subtle stomping anthem, and about 10 minutes and five songs later the song completely changes and ends with a cosmic synth-filled finale.

The album isn’t perfect though. The songs “Someone’s Missing”  and the instrumental “Lady Dada’s Nightmare” seem more like B-sides than actual tracks. 

With only nine tracks on the album, one would expect that there are no “filler” songs on the album. Unfortunately, that’s what these songs come across as.

Overall, this is an album that should be heard as a whole. Don’t cheat yourself by just buying the three most popular songs on iTunes. 

MGMT has had its taste of being techno pop stars, and have decided instead to be a couple of peculiar weirdos. 

“Congratulations” is less accessible than previous efforts, but if this kind of music is your thing, then this is definitely a psychedelic trip worth taking. MGMT has avoided a sophomore slump and created something really different.

Congratulations, guys.