FutureSex/LoveSounds
by: Justin Timberlake
List Price: $16.98
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Your Price: $16.13
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Sales Rank: 94661
Sales Rank: 94661
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Music : FutureSex/LoveSounds |
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 Justified, Justin Timberlake |  No Strings Attached, 'N Sync |  Celebrity, 'N Sync |
 Justified: The Videos (DVD) |  Justin Timberlake: Live From London (DVD) |  Edison Force (DVD) |
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Rating:  - * 5StarsForThe5Songs I Play the most ... I'm alot older than Justin Timberlake,but for the most part,I really like his new CD.The 5 songs I really enjoy are "SexyBack"(Very Cool,and different ,}"What Goes Around"{My Favorite from the record that I can't stop playing,FANTASTIC HOOK]"Untill the end of time"{great love song}"Losing my way"{This song will help alot of people hooked on drugs}and the beutifull clossing ballad,"Another song all over again."The rest of the cuts are fine,but not my type of music,but its just me getting older . Rating: - * Very Unexpected ... I think most people when they hear Justin they automatically think of NSYNC. That makes many people reserved if not uninterested in an album from Timberlake. However, that said I think that this album is able to be catchy without that tiring pop quality effect. As other reviewers have stated even if the songs are not an instant hit with you, the songs do grow on you after a while. There's not too many albums out there that you can listen from beginning to end without having to skip a majority of songs. The nice mixture of slow and up beat songs make for an enjoyable experience. I think a lot of people would be surprised to learn that Justin has grown musically. I'd tell anyone to give it a chance. Rating: - * What a cd ... To my surprise, when I first heard this cd, on amazon, I liked a few of the songs. I bought the cd, I listened to the whole thing, I was addicted to it. It is very different. Very poppy,with different sounds to it. I think that Justin will have a bigger carrer as a solo artist then in a boy band. I recommend this cd to anyone who likes music like Michael Jackson or Prince. Rating: - * What a Surprise ... In the world of Fad driven music like pop, R&B and Hip Hop, where you are hot one day and the next you are corny even though you have not changed your style at all comes a jewel of an album. This is a album where an adult can get enjoyment out of this as well as children. Get the edited disc for the children. Justin joined a lot of so called labeled R&B styles like old skool, Neo-soul, pop and urban and came up with an album that is very entertaining. In a time where kid R&B songs rule the chart he has come out on top. If you are a true fan of R&B, you will enjoy this album. If not you will at least appreciate this album for the creativity and what he is offering. An album with ACTUAL MUSIC behind the lyrics instead of just weird sounds. Even if it's just a loop of music it's still music where you can ID the instruments. This is coming from a R&B fan who thinks today's R&B is lacking in several areas..... one is TALENT. Good job Justin. Maxwell hurry up. Rating: - * I'd re-buy it 26 times. ... If I lost this album 26 times, I'd re-buy it 26 times. Of course, I would probably have to enroll in some kind of class or therapy to explore why I'm prone to losing things so much. I'm tempted to buy another copy now simply because it's in the used bin for 4.00. I am shocked by how much I love this album. Justin Timberlake is not one of my favorite people; and he undeniably bites the sound of Prince on this album. However, the songs are infectious, and just like I love Prince's music, I love this. Timberlake has been the most played artist on my iPod for the past year. Justin Timberlake is not a better dancer or singer than Usher and Ginuwine, but he is more interesting and makes more interesting music. At first, I thought this album could not surpass the quality of Justified, but it has. There is certainly less deep lyrics here and more bravado, but Timbaland's beats and Justin's sheer effort make up for the lack of deep, more emotional songwriting. 1. Future Sex/Love Sound--a sexy, pulsing song. This easily could have been a single, and I'm surprised it wasn't. It's not as interesting as SexyBack, but it's still a winner. 2. SexyBack--my favorite song on the album and probably my favorite song for the past 10 months. On the first few listens, the song seemed empty, frivolous, and overly redundant. Now, it's simply an undeniable hit with a funky, electronic sound. 3. Sexy Ladies--easily the song with the most nauseating bravado. He's simply singing to us about all the hoes in different area codes he has. He's not tacky enough to actually call his women hoes, but he's still bragging about getting laid. That message has never appealed to me as a woman. While the message is not appealing, the sound and music is. I still like it. 4. My Love--My love features an intro that at first is very annoying, but it grows on you. The intro seamlessly leads into the real song, and you're treated to the heavy beat that works as the foundation of the track. There is a trend of putting intros on the same track as the real song. They should be separated. I don't appreciate having to listen to a 2-minute intro everytime I want to hear a song. I'm sure a lot of others don't either. Make the intros separate tracks. 5. LoveStoned--another beat heavy song that eventually meshes into a gorgeous rock/pop song. Great dance record. 6. What Goes Around--Another medley type song where the end is much different than the beginning and middle. It's pretty long, but interesting from beginning to end. This is considered Cry Me a River Pt. 2 with "you know who" as the possible subject. I don't believe he's ever gotten over "you know who." 7. Chop Me Up--this song is sort of strange. It features Three 6 Mafia (the rap group who won an Oscar not too long ago because the voters were still observing Black History Month). Chop Me Up works a lot better than it should. I love the Three 6 Mafia part, but Justin's lyrics are sort of corny. The song definitely has a dirty south, crunk sound. I really like it despite the almost awkward lyrics from Justin. 8. Damn Girl--an "almost great but not," song. It's decent but Will.I.Am's rap is totally aggravating and totally messes it up. Justin sings in a falsetto, and his style and the style of the song mirrors something Stevie Wonder might have done 35 years ago, only without the cursing. 9. Summer Love--a good song with another great beat. He says "girl" a lot in Summer Love, but it's important for him that people know he's not gay; so he has to say "girl" a lot or else some people might get confused. 10. Until the End of Time--it starts off with a Set the Mood intro that is very calming and smooth, if a little too long, then segues into Until the End of Time which could act as Prince's "The Beautiful Ones" cousin. I didn't really like it at first, but it grew on me. This is another example of the intro and song being together on the same track. If the intro was separated, I would probably listen to Until the End of Time more than I do. 11. Losing My Way--easily the worst song on the album. It's cloying and doesn't fit with the tone or subject matter of the other songs. This album is about partying, meeting girls, and falling in love. Now, here comes a socially conscious song about drug abuse? It's not horrible by any means, but I barely listen to it. It features a cameo from Hezekiah Walker. 12. Another Song--a gorgeous, but too sad to listen to on a regular basis, song about screwing up and begging for forgiveness. The ironic thing is that Justin's songs like Cry Me a River and What Goes Around are so unbending in their message of refusing to grant forgiveness you wonder how he can ask forgiveness. He's admitting he's a human who messed up. Well, his girl who hurt him was human as well. Bottom Line: There are a lot of people who will never forget or let Justin forget he was in a boy band. And I think he poses a little too much in his attempt to shake the boy band image. However, he should be proud that he was a member of NSync. They made a lot of good songs that made people happy for a lot of years. He's an entertainer who did his job and is still doing his job. He has absolutely nothing to apologize for. So he should stop posing and acting like a wannabe thug and wigger. He's just embarrassing himself when he acts that way. |
Three of them date from the '20s and '30s and were produced by Samuel Goldwyn. The 1926 silent The Winning of Barbara Worth gave Western stunt man and bit player Cooper his first featured role (by accident--the actor originally cast didn't report for work!). A cowboy whose visionary surveyor father aims to "redeem the desert and make it one fine garden," Cooper's character is the third corner of a romantic triangle, ordained by the Hollywood caste system to lose lifelong sweetheart Vilma Banky to engineer Ronald Colman. Colman has lots more screen time than Cooper and bears the moral-ethical brunt of the eco-conscious drama; he's also surprisingly persuasive wearing a sweat-stained Stetson and trading gunshots with the bad guys (if this were a sound film, Colman could never have gotten away with it). But the camera and the audience are locked onto Cooper whenever he's on screen. In longshot or vulnerable closeup, he's already one of the gods of the cinema. As for the movie, the quality of the print is excellent, its clarity intensified by bronze, yellow, and moonlit-blue tinting that often seems on the verge of resolving into full color. Director Henry King shows a good eye for action and bold vistas, and a visual adventurousness mostly absent from his later work.
Next up chronologically is The Cowboy and the Lady (1938), and the best thing about this misbegotten movie is Garson Kanin's description, in one of his Hollywood memoirs, of how Leo McCarey sold the idea for it to Sam Goldwyn. McCarey was, of course, a comedic master (recently Oscared for directing The Awful Truth), and his exuberant pitch convinced Goldwyn and his staffers that audiences would "piss" themselves laughing at this romantic comedy about a daughter of privilege (Merle Oberon) who falls for a rodeo rider (Cooper) and learns homespun values. Goldwyn paid McCarey off, assigned some writers to the script, then realized there was no real story--"no there there," as Gertrude Stein might have put it. The resultant unfunny and unromantic endeavor oozes bad faith from every pore, with neck-snapping life changes foisted on the hapless Cooper and Oberon from reel to reel, and excruciating scenes (jitterbugging in a drawing room, playing house back on Cooper's ranch) that strain charmlessly for McCarey's patented brand of fey. H.C. Potter directed, understandably without conviction.
We and Cooper are back on track with The Real Glory (1939). The reliable Henry Hathaway helmed this second cousin to his and Cooper's The Lives of a Bengal Lancer, with Cooper as an Army doctor assigned to the Philippine Constabulary on Mindanao in 1906. The movie was well-received when it came out; encountered in the shadow of the Iraq War, its tale of U.S. occupiers trying to help the local populace "stand up" against a fanatical and murderous insurgency takes on new fascination. There are some amazing passages--two horrendous murders by bolo knife--and the final battle sequence puts the CGI-riddled action films of the present day to shame. But the most impressive element is Cooper, and we can't improve on the verdict of that astute film critic Graham Greene: "Mr. Cooper ... has never acted better.... Watch him inoculate [Andrea King] against cholera--the casual jab of the needle, and the dressing slapped on while he talks, as though a thousand arms had taught him where to stab and he doesn't have to think any more."
For the final film in the set we jump into the '50s--the century's and Cooper's. Vera Cruz (1954) casts him as a former Confederate officer who's ridden into Emperor Maximilian's Mexico, hoping to make a fortune in the new civil war south of the border so that he can rebuild his own devastated homeland. Costar Burt Lancaster (whose company Hecht-Lancaster was producing) plays another mercenary, a real sociopath, and it's fascinating to watch these two stellar icons of very different Hollywood eras make common cause--Lancaster at the height of his grinning-predator mode, Cooper an aging knight whose aim is still true. Director Robert Aldrich keeps finding dynamic uses for the SuperScope format and flavorfully fills it with sublime uglies like Ernest Borgnine, Jack Elam, Charles Horvath, Jack Lambert, and Charles Buchinsky-about-to-become-Bronson. Pieces of this movie found their way into the dreams of Sam Peckinpah and Sergio Leone. --Richard T. Jameson
