members: Amy Lee, Ben Moody, John Lecompt, Rocky Gray,
(and formerly) David Hodges
a dissipation or disappearance like vapor. Although the band's name
may suggest a sudden vanishing, the music of Evanescence is poised
for longevity. Fallen, the Wind-up Records debut of this talented
quartet from Little Rock, Arkansas, is an emotional, ethereal work
of undeniable potency guided by the heavenly vocals of Amy Lee. "We're
definitely a rock band," says the 20-year-old Lee. "But
the twist is that the band's music is epic, dramatic, dark rock."
Lee and guitarist/songwriter Ben Moody met while in their early teens.
"We were at a youth camp," Moody recalls. "During some
sort of recreational period held in a gymnasium, I heard Amy playing
Meat Loaf's 'I'd Do Anything for Love' at the piano. So I went over
to meet her, and she started singing for me. I was pretty much blown
away, so I suckered her into joining a band with me." Since that
day, the musical relationship has remained dependably loyal. "We
have the same exact vision regarding what we love about music,"
says. "When it comes to songwriting, we finish each other's thoughts."
Evanescence first took shape in Little Rock at the end of the '90s.
Predictably, the band didn't quite fit the mold of most others lingering
around the Midwestern state. "It's typically death metal or really
soft, older-people music there," says Lee. "I don't even
know of any local bands that have female singers." Influenced
by a wide-ranging collection of artists such as Bjö
rk, Danny Elfman and Tori Amos, the band started releasing EPs of
its material. Even without the benefit of live performances, Evanescence
began to establish a reputation. "A lot of it developed by being
elusive," Moody remembers. "The second song we ever wrote
was this seven-minute, ridiculous Goth anthem called 'Understanding.'
And for some reason, the local rock station decided to play it a lot.
We gained this popularity around town, even though no one knew who
we were or where to find us. It was because we could never afford
to play a show -- it was just Amy and I -- and we couldn't pay any
musicians." Fallen was tracked in Los Angeles with producer Dave
Fortman (BOYSETSFIRE, Superjoint Ritual).
Incredible Strength, Incredible
FX... its The Incredible HULK
The Hulk Review by HollywoodReporter.com.
The Hulk which opened Friday, June 20, is at once
a cutting-edge special effects extravaganza and a throwback to those
science fiction classics of the '50s, where B-movie makers actually
had things to say about the human condition. It's the best of both
worlds, filled with visual energy, genuine artistry and compelling
human emotions. In its own way every bit as inspiring and exciting
as his last film, the international hit "Crouching Tiger, Hidden
Dragon," Ang Lee's "Hulk" reconfirms the director's
status as an Asian-born filmmaker who understands the heart and soul
of the Occidental world perhaps better than we do ourselves.
Destined to be one of the summer's big hits, "Hulk" plants
tentpoles far into the future for a series of "Hulk" films.
The biggest challenge facing its producers, though, is to find filmmakers
as imaginative as Lee.
Actually, two Lees form part of the creative force
that drives this vehicle. The Hulk goes back to Marvel Comics character
created in 1962 by writer Stan Lee and artist Jack Kirby. Ang Lee
and longtime collaborator James Schamus (credited with the story as
well as being co-writer and co-producer) rely heavily on the comic
books to tell this tale of a man unwittingly transformed into a monster
-- a character with a bloodline going back to Robert Lewis Stevenson,
H.G. Wells, Mary Shelley and James Whale.
Throughout the movie, Lee engages the viewer with
the visual spectacle of comic book graphics transformed by movie magic.
Wipes, split screens, zip pans and other optical effects replicate
the experience of reading a comic's panels. Tight shots of characters
under stress remind one of those huge panels where artists zero in
on big emotions. In some sequences, the split screens move and multiply,
catching characters at various angles at once.
a brilliant opening titles sequence (designed by yU+co), we see a
maverick scientist experiment in genetic modification. Failures result,
but he perseveres. Then the consequences of his own self-experimental
research hits home, literally, when his wife has a baby. Whatever
mutation he conjured up in that devil's brew is passed on to his son.
His boss, a military commander, tosses the scientist out of his own
lab, but not before the scientist sabotages the lab and rushes home
to relieve his son of the burden the boy carries without his knowledge.
Years later, scientist Bruce Banner (Australian actor Eric Bana) follows
unknowingly in his father's footsteps as a researcher in genetic technology.
He has repressed all memory of his first four years of life, believing
that his parents died when he was an infant. Bruce is so emotionally
cut off from others that it has undermined his relationship with girlfriend
and fellow researcher Betty Ross (Jennifer Connelly).
Then their lab experiments attract the unwanted attention of Betty's
estranged father, Gen. Ross (Sam Elliott), and rival researcher Glenn
Talbot (Josh Lucas). Someone else mysteriously lurks around the lab,
the new night janitor David (Nick Nolte), who turns out to be Bruce's
father, recently released from prison.
A lab accident exposes Bruce to what should be a fatal
dose of gamma radiation. But his dad's mutating gene not only allows
him to withstand the gammas, the combination serves to kick-start
the "monster" within. Now when severely angered, the scrambled
DNA turns Bruce into the Hulk. Unlike the old CBS series "The
Incredible Hulk" (1977-82), in which Bill Bixby's Bruce steps
off camera in favor of bodybuilder Lou Ferrigno's Hulk, Bruce's alter
ego here is a massive, green CGI creature that can withstand missiles,
leap into the sky and shake up the entire U.S. military.
This character has already caused controversy, the
major complaint from some moviegoers being that they have a hard time
investing emotionally in a CGI-created character. But not only does
this character conform to the Hulk from the Marvel Comics, this is
a true-blue (make that green) superhero.
Desperate to understand these transformations, Bruce
delves into his own origins. But he is in a race against the blowhard
Gen. Ross and conniving Talbot, who seek power and money from the
Hulk's genetic makeup. Equally as puzzling, Bruce must admit that
he rather enjoys his other self, knocking about people, cars, ferocious
dogs and eventually flying aircraft. The climatic sequence when the
Hulk escapes a desert lab and rampages all the way to San Francisco
is event moviemaking at its best.
This is a long film that moves at lightning speed,
egged on by Danny Elfman's bold theatrical score and Tim Squyres'
fluid editing. For all the considerable contributions by designer
Rick Heinrichs and cinematographer Frederick Elmes, though, "Hulk"
takes its energy from character development and conflict.
conveys the inner turmoil of a man at odds with his very essence.
Connelly, too, gets torn in different directions, unable to trust
any man in her life, from this normal guy who becomes a monster to
her monstrous father who experiences occasional moments of tenderness.
Finally, there is Nolte's character, a new and interesting twist on
the "mad scientist." One sympathizes with his drive for
knowledge only to see it corrode as logic deteriorates and the quest
for "science" overrides all human concerns.
Those of you out there who are star world
freaks like me should probably know about the series called "charmed".
It is aired as I said on star world at 8:30 pm. If you haven't been
watching it then you should from next week. I have to admit that the
story is sometimes kinda stupid but hey, where can you find a famous
tv show without having the actors do something stupid (or abnormal
at many occasions). Well I think it's worth watching. Here are some
bios I found on the Internet of the charmed ones" that I think
you will be interested to know.
Milano (born: Dec. 19, Brooklyn, NY): Born and raised
in Brooklyn, N.Y., Milano got her start with the national touring
company of Annie. At 10, she was cast as Samantha Micelli in the long-running
comedy Who's the Boss? starring opposite Tony Danza for eight years.
The show ended in 1992, and she continued to hone her talents on both
the big and small screens. Milano's next starring role was on the
hit drama Melrose Place for two seasons.
Milano starred in the title role in the feature comedy
Hugo Pool. Directed by Robert Downey, Sr. and co-starring Sean Penn,
Malcolm McDowell and Richard Lewis, the film chronicled a day in the
life of a Bel-Air pool cleaner (Milano). Her additional feature credits
include the psychological thriller Fear with Reese Witherspoon and
Mark Wahlberg, Double Dragon, Where the Day Takes You and Commando.
McGowan (born: Sept. 5, Florence, Italy ): One of
six children, McGowan was a citizen of the world at an early age.
Raised in Italy, she spent her childhood traveling throughout Europe.
She returned to the U.S. to attend high school in Seattle.
A chance trip to Los Angeles resulted in her being
cast in the film The Doom Generation. Her performance in Gregg Araki's
dark and stylish road movie earned her a nomination for Best Newcomer
at the 1996 Independent Spirit Awards. Also in 1996, Rose appeared
in Wes Craven's smash hit Scream as Sydney's (Neve Campbell) doomed
best friend who met with an unseemly death under a garage door.
Holly (born: December 5, New York, NY): Holly Marie
Combs, popular with audiences for her role as teen-aged Kimberly Brock
on the Emmy Award-winning series Picket Fences, returned to series
television in Charmed. She most recently can be seen in Steven Soderbergh's
remake of Ocean's Eleven opposite George Clooney and Brad Pitt in
which she plays herself along with The WB stars Barry Watson and Joshua
was born in San Diego, Calif., and moved with her family to New York
when she was 8 years old. Following her mother's footsteps as an aspiring
actress, she began her career working in television commercials and
print advertisements at age 10. She won her first movie role by 13,
playing the daughter of Don Johnson and Susan Sarandon in the feature
film Sweet Hearts Dance. - Compiled By Melissa.