39p> Mg (Ear
Marty Casey LP
guilty of excesses
BY MORGAN ELLIS
STAFF WRITER
Marty Casey is the Clay Aiken of
CBS’s “Rock Star: INXS.”
After coming in a close second,
Casey and his longtime band,
Lovehammers, are still clinging to
the reality-show 15 minutes of fame
with a self-titled major-label debut,
which is wrought with shortcom
ings.
First of all, Lovehammers?
Are they kidding? Terrible band
name.
And then there’s the other thing
to discuss about Casey: his music.
It ain’t pretty.
Mostly all of the tracks sound
as if they were written from the
same formula: Cook up fast arid
unchanging drum beats and load
them down with lots and lots of
power chords.
The monotony makes the tracks
hard to differentiate.
Unless you’re sitting down
and watching the track numbers
change, you might never know
that “Call of Distress” has gone
into “Straight as an Arrow.”
On “Rock Star: INXS,” Casey
was best known for his song
“Trees,” the first single from this
album. Former Jane’s Addiction
guitarist Dave Navarro said it
would be a hit.
Navarro is a good guitarist, but
can you really take seriously any-
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MOSICREVIEW
MARTY CASEY AND
LOVEHAMMERS
MARTY CASEY AND
LOVEHAMMERS
irk
one who does an MTV newlywed
show?
“’frees” is one of the better tracks
from the album, which has about
as much depth as a kiddie pool.
Casey’s recycled voice sounds fit
for a Nickelback tribute band, and
his self-titled LP does little more
than emulate such terrible prede
cessors.
After listening to Marty Casey
and Lovehammers, one has
to wonder what INXS would
have sounded like with this guy.
Probably scary. There’s no way
Casey could have filled the shoes
of the late INXS frontman Michael
Hutchence.
Rock isn’t getting anything new
with this release. Marty Casey and
Lovehammers just blend in with
the rest of the bands being spun
right now.
If you do pick up this album
though, there’s good news: You
only have to listen to it for 38 min
utes.
Contact theA&E Editor
at artsdesk@unc.edu.
Diversions
Nudie flick falls victim of own melodrama
BY ALEXANDRIA SHEALY
STAFF WRITER
Judi Dench’s feisty, energetic
portrayal of the widowed Mrs.
Henderson in Stephen Frears’
“Mrs. Henderson Presents,” is
almost good enough to clear the
film of its narrative flaws.
But despite the efforts of
Frears’ all-star cast (including Bob
Hoskins, Christopher Guest and
the Grand Dame herself), “Mrs.
Henderson Presents” fails to pro
vide enough comedic moments to
water down the film’s unnecessary
melodrama.
Set in pre-World War II London,
the film loosely follows the true
story of Laura Henderson, a wealthy
Briton who after the death of her
husband leaves her unsure of how
to manage her time and wealth
opens a theatre showcasing a nude
musical review.
In Frears’ version of the story,
Henderson hires the experienced
Vivian van Damm (Hoskins)
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as managing producer of her
new Windmill Theatre. When
the theatre opens its first show,
“Revuedeville,” a nonstop song and
dance performance, it is so success
ful that before long, other London
theatres are copying the Windmill’s
idea.
Within only a week, the Windmill
is heading toward a tragic end.
To save her theatre, Henderson
suggests that some of the female
performers appear nude. She uses
her socialite charm to convince the
snooty local censor, Lord Cromer
(Guest), to allow the show to be
performed, agreeing to his one
condition that the nude per
formers will remain completely
still, like works of art in a muse
um.
It’s disappointing to see such
talented actors fall victim to an
uneven script
The second half of the film is
weighted down by sloppy dramat
ics, suggesting that Frears and
THURSDAY, FEBRUARY 9, 2006
screenwriter Martin Sherman had
difficulty deciding on a consistent
tone to die film.
Audiences are constantly ripped
from high-energy vaudeville num
bers, which are cleverly staged and
genuinely entertaining, to an overly
sentimental Henderson attempting
to set up one of her performers with
a front-bound soldier or overdone
computer-generated long shots of
the war-tom city.
While Dench’s character pro
vides amusing diva-esque antics,
struggling attempts to make a
social statement in the film’s final
moments throw “Mrs. Henderson”
on a soapbox.
It’s not a terrible movie; it’s hon
estly hardly even bad. Dench and
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MOVIEREVIEW
'MRS. HENDERSON PRESENTS'
irkk
Hoskins retain such an effortless
chemistry throughout the ups and
downs of the film’s disappointing
script that it’s impossible not to
applaud them.
But despite the nonstop nudity
and colorful parade of charm
ing vaudeville numbers, “Mrs.
Henderson Presents” fails to be
memorable at all, falling into a
veritable windmill of melodrama
and period-piece cliches.
Contact theA&E Editor
at artsdesk@unc.edu.
7