Reviews by Loyal-T

I've always been considered by my closer associates to be "a leader, not a follower" in a loose sense of the phrasing. Not to spark controversy, but a lot of my fellow film freaks seem to "bandwagon" their opinion whenever a remake is released; especially one that remakes/re-imagines a picture the film community holds in rather high esteem ("Psycho" or "Halloween,” for example). Granted, "Night of the Living Dead 3D" isn't the subtext-laden, atmsopheric scare flick that the black & white George A. Romero original was, but Jeff Broadstreet's loose 3D retelling is ambitious, if not hokey and flawed, yet fun.

Maybe my strengths and weaknesses as a critic play a part in this. Some call it "critical complacency," others call it "extreme leniency." Let's face it, the hardcore zombie lover would pop this disc in, sit down on their couch and probably remove the disc and chuck it out the window after the 15 minute mark. Much like New Line's "Texas Chainsaw Massacre" remake and Dimension's recent "Halloween" updating, this is a retelling in the truest sense of the word. Characters' personalities have been altered, names have been changed, skin colors have changed (Ben is now white), motives have changed, and completely new locales and characters have been introduced. Broadstreet takes the very basic elements of the "Night..." formula, builds on them, and then completely alters them. It is, more or less, a zombie film that occasionally references George Romero's "Night of the Living Dead" more than it is a full-fledged remake of it.

But that's why "Night 3D" is so tolerable. If this had been more like either Romero's legendary original or Tom Savini's now-classic 1990 remake, it would have been much harder to sit through. Call it gimmicky, but pointing out all of the "Night..." references to your buds and laughing at the in-jokes is half the fun. These small nuances, such as those mentioned in the previous paragraph, as well as the changes in dialogue, characters, and the altering of key scenarios are a number of reasons it can be enjoyed on such a carnal level.

The campiness of the flick practically ensures that performances are appropriately B-grade as well. A number of the cast involved with this project are either young, hungry up-and-comers looking for their big break that’s never going to come (Joshua DesRoches, Brianna Brown) or actors that were involved in previous films from Broadstreet (Ken Ward). Line delivery was a consistent problem and these actors hammed it up like a Christmas dinner. Although horror fan favorite Sid Haig supports most of these no-names with his nonstop charisma and sheer presence, the dull writing from screenwriter Robert Valding does nothing for Haig's memorable character.

Had this film had a more respectable budget with better actors and higher production values, it might have had a chance at possibly obtaining a theatrical release. Weighing in the positives, Broadstreet is a sufficient director who gets the most out of his atmospheric sets, handles the (minimal) scares effectively, and keeps the film moving at a breakneck pace. The film just has such an obvious deficiency in budget that it is, more times than not, unbearably campy. Gore is relatively low also, although there is a fairly nifty gut-munching sequence near the end of the flick.

Lovers of the the original “Night of the Living Dead” need not apply for Broadstreet’s loose retelling of George Romero’s classic tale of black & white zombie carnage. “Night of the Living Dead 3D” is a shameless remake/re-imagining that is as hokey, cheesy, and campy as any horror picture I've seen in recent years. See this for the inimitable Sid Haig, see it for the 3D, maybe see it just for the odd “Night…” reference and the twisted third act. But don’t see it expecting a faithful adaptation of Romero’s original. You won't be getting one.

"Saw IV" is one of the most complex, well-rounded, and, quite possibly, most ingenious "Saw" sequels I've had the pleasure of viewing thus far. I didn't particularly care for the film the first, second or even third time I saw it, but as I began to pay closer and closer attention during each subsequent viewing (with the help of the Darren Bousman/Lyriq Bent commentary track) I gained a favorable fondness for this rather gory entry in the "Saw" franchise.

Granted, "Saw IV" isn't for the uninitiated. Each "Saw" film since the first has gotten more and more fan-oriented and this entry isn't any different. For those of you who haven't seen any of the previous "Saw" films or, perhaps, missed a couple, I recommend you fill in the gaps first then give this at least a hearty two/three viewings. "Saw IV" is a very meaty and, above all else, very complex film that pays close attention to plot detail and assumes its audience is adult enough to understand the twists and turns its screenplay throws at them.

And speaking of the film’s screenplay, Leigh Whannell does NOT return to pen the series’ third sequel. Instead, Patrick Melton and Marcus Dunstan are given writing duties and that makes for a very different “Saw” film. The “Whannell touches” are vacant for most of the film, including the more elaborate nature of the series’ later traps (in particular, “Saw III's”) and Melton & Dunstan go to great lengths to make sure that their script goes so far over the viewers' head the first few times one sees it they never notice it flutter by.

But “Saw IV” is ingenious for that very reason. The other “Saw” films were tied up neatly by way of Leigh’s writing at the end of each movie, but this picture has so much happening, so much going on, that it would be a crime to see it once and pass judgment on it. Sure, there’s the “big reveal” here that a lot of “Saw” fans guessed prior to the movie’s theatrical release, but there truly are so many twists and turns (and they are so consistent) throughout that the film feels so much more accomplished than your average “Saw” sequel.

As per usual with a “Saw” picture, the acting isn’t the greatest. This film was shot for a measly $10 million and it does show, but director Bousman is becoming such a talent behind the lens that its easy to forgive it. No “Saw” film would be complete, though, without the prerequisite MTV-style editing, quick cuts, and faux-grain, but Darren is showing promise beyond that. He’s sandwiching his own unique style (such as transitions) in-between the frenetic, Saw-esque moments and more complacent moments as well.

It should also be noted that this DVD is being billed as the unrated DIRECTOR’S cut of “Saw IV.” With that said, there are minor additions made to a handful of scenes. Some minor plot holes are filled and there is a bit of additional character development. There is also a noticeable amount of gore added back into this cut of the film as well.

The fan reaction on “Saw IV” has been fairly mixed thus far, but I think as fans begin to get a better grasp on the film and also begin to realize just how content-heavy and clever it is, they, too, will gain a fondness for it. Maybe it says a lot about my personal taste when I state that “Saw III” is my favorite of the bunch, but this sequel, in this particular form, comes in a close second. New writers, likewise, have breathed new life into a franchise that could have very well become stagnant. Let’s hope that doesn’t happen.

Some folks just don’t “get it.” The “Grindhouse” double-bill - which acted as an homage to (you guessed it) the grindhouse theaters that played exploitation films (most of the time back-to-back) throughout the ‘70s - was as innovative as ideas in mainstream cinema probably got. It’s disappointing (but not too surprising) then that this homage performed underwhelmingly at the box office.

But those uninterested in the idea would probably say “they asked for it.” The “Grindhouse” idea was directed solely at those with a fondness for exploitation era horror cinema; let me count the ways – the films themselves contained faux specks, dirt marks, scratches, wear marks and “missing reels” while mock trailers of other grindhouse-esque features (the "Machete" trailer has gone on to become almost legendary) appeared before the main features. The “Grindhouse” experience was EXACTLY that; a true experience.

But the films contained within the “Grindhouse” package (Robert Rodriguez’s “Planet Terror” and Quentin Tarantino’s “Death Proof,” respectively) did little to complement each other. “Planet Terror” was a one-two punch of zombies, girls, guns, and gore while “Death Proof” was a talky, hip-as-I-want-to-be car chase film that talked the talk (literally) but did nothing in the way of walking the walk. Therein lies the beauty of viewing the films separately. Separately, each film’s weaknesses become their strengths. Separately, there's none of that subgenre juxtaposition that was so prevalent in the "Grindhouse" double-bill.

Plot-wise, there’s something going on here about chemical weapons, something resembling a government conspiracy, zombies, and a bunch of other shit, but that really doesn’t matter. What does matter is that Freddy Rodriguez kills many undead men and women in numerous grisly ways, Rose McGowan makes for a memorable horror film heroine, and great-fuckin’-man Tom Savini hams it up as one of great-fuckin’-man #2 Michael Biehn’s deputies.

With the exception of some misplaced visual FX, “Planet Terror” is as old school as it gets. There’s obvious wire work, squibs galore, bodies ripped apart, intestines torn out, the aforementioned “grindhouse-esque qualities” apparent in nearly every frame and some of the most intentionally over the top performances I’ve ever seen. Rodriguez’s direction, however, is top-notch despite the obvious deficiency in budget. The cinemtaography is also excellent and really captures the low-budget feel of the grindhouse era with little flaw.

Rodriguez confirms on the “Planet Terror” special features that a “Grindhouse” box set is on its way, but I wholeheartedly recommend purchasing the films separately. Viewing each of them independent of each other allows the viewer to weigh the positives and negatives of each film more realistically and less harshly. Not to mention, for those that enjoyed the theatrical version of “Planet Terror,” it is presented here in an extended (aka International) cut that some may argue is better – though considerably longer – than the theatrical print. By all means, fans of the film should pick up this excellent set immediately.

Let’s cut to the chase. Quentin Tarantino is a man you either admire for his innate ability to write meaningful, quirky, albeit drawn-out dialogue that can either serve the story magnificently (“Reservoir Dogs” and “Pulp Fiction”) or hate because of his ability to make this dialogue repetitious and too hip for its own good (i.e. this film).

I think most genre buffs are in the know as to how this film came about; two guys with an idea and a love for grindhouse cinema, hence the original theatrical double-bill, “Grindhouse” and, voila, two separate films - Robert Rodriguez’s “Planet Terror” and, of course, Quentin Tarantino’s “Death Proof” - playing back-to-back. The idea was a good one. It’s just too bad that the films did little to complement each other. There was, what I call, “subgenre juxtaposition” going on between the two. Rodriguez’s film was a balls-to-the-wall zombie-infested action/gore flick while Tarantino’s feature was an overly talky, pop-culture referencing pseudo horror film that some argue should have had more focus on blood, guts and atmosphere before it ended up being part of the theatrical double-bill.

That’s not to say there is anything wrong with Tarantino’s film being what it is. Although a bit pretentious, it is, essentially, a true grindhouse film. It’s directed like one, shot like one, and cut like one. That counts for something. My only minor quibble is that Tarantino’s writing is culled straight from his more popular flicks – such as “Pulp Fiction” - and that doesn’t quite gel with the atmosphere he had going at the beginning and middle of the film. Character-wise, strong female leads aren’t a bad thing as many fans have stated. But it’s painfully obvious that Tarantino hasn’t written many. Inane dialogue that goes on for far too long about absolutely nothing just isn’t cutting it.

Otherwise, the film is as close as either of the two features come to being a true experience in ‘70s-era grindhouse cinema. Strangely enough, though, the faux scratches, specks and dirt marks aren’t as prevalent here as they were in Rodriguez’s “Planet Terror,” but it gives one the thought that Tarantino isn’t shoving the idea down our throats. Quentin directs the living hell out the movie (especially Kurt Russell’s scenes, of which I wish there were more) and its various automotive sequences. Perhaps in a more subdued way, "Death Proof" is over the top, GLEEFULLY over the top, and it knows it. Apart from the misplaced dialogue, "Death Proof" truly feels like part of a late night drive-in double feature.

My only complaint here is that Tarantino should have focused his attention more on concocting a film complementary of Rodriguez’s and less on making “just another Quentin Tarantino film.” The two "Grindhouse" features, together, don’t work. At all. Separately, there’s a much better chance they’ll find an audience, just as this one did with me. I’m all for Tarantino’s brand of dialogue-driven movie-making, but I don't think this was the time or the place. Is a gorier, more exciting "Death Proof" the answer? Who knows. As it is, though, there’s still something fascinating about this movie, more so in this unrated extended/International cut. Maybe that's because it IS so different. But in this person’s very humble opinion, it could have been something so much more groundbreaking.

Wasted potential is truly a terrible thing. Midway’s "BlackSite: Area 51" isn’t just wasted potential, it’s the very definition of it. To find out exactly where things went awry, take a trip to Google (or your favorite search engine of choice), type in the name “Harvey Smith,” and hit the trusty Enter key. You will find that not only is he the Executive Creative Director of this project, but he also helped create one of the most profoundly enjoyable (and playable) games (ever?) in the classic 2000 PC game, "Deus Ex." With that said, it fervently begs the question as to why and how "BlackSite" came up as short as it did.

The suits at Midway didn’t just bastardize the designers’ - as well as Harvey’s - original vision, but they kept what could have been a memorable first-person shooter from being anything more than a by-the-books, nothing-more-than-average FPS. Granted, "BlackSite" contains a handful of truly spectacular cinematic moments, some intuitive game play, and frenetic action, but as Smith explains in the article you should have read prior to reading this review, Midway’s lack of care and concern for the final product hinders many of the positive aspects that lie buried underneath an otherwise decent action title.

First and foremost, Smith spoke of wanting "BlackSite" to be a biting political satire. Whether or not there’s room in the gaming community for political references and/or satire remains to be seen, but you just don’t get the feeling playing through the game’s six episodes that "BlackSite" is as subversive as Smith would lead you to believe. Is that the development team’s fault? Who knows. But the question needs to be asked; was the game truly going to be an experience that posed questions about our government, its policies, and the way it treated our war veterans, or did Midway dumb it down for the masses? Personally, I feel the game would have been infinitely more playable had these moments been more plentiful, as well as more subversive.

But Midway has been advertising this as straight-forward shooting fare and, at that, it gets the job done. It’s certainly no "Crysis" or "Call of Duty 4: Modern Warfare," but the Havok physics and destructible environments do create some memorable sequences. Even with that said I just never got the sensation that I was taking part in anything as epic as those aforementioned games. And when "BlackSite" currently comes with a $49.99 price tag slapped on its ass, I can’t help but feel cheated. There are, however, some noteworthy interactive moments, such as letting a trailer(home) loose and sending it hurtling into a machine gunner on a truck, or setting your squad up to breach and clear rooms in the opening Iraq mission. Set pieces either range from “been there, done that” to “wow, that’s pretty cool,” but nothing is ever awe-inspiring. Disappointingly enough, the destructibility of the environments are never taken full advantage of, either. Few objects are actually fully destructible. As well, too much time is spent gunning down faceless aliens and soldiers and not enough on engrossing the player in the environments or allowing him/her to interact with them more frequently.

The squad control is one of the features of the game that separates it mildly from others, though this feature is too barren to make a difference. Athough the ability to use your squad to focus-fire on enemies, plant C4 charges on doors, break down doors, and send them nearly anywhere you want them on the playing field is interesting, you won’t find yourself using it unless its needed to advance further in the game. Aiding in difficulty a bit is the “morale system.” Your squad – in battle – is measured by this system and, depending on their morale, they will either help you out out more in fights (i.e. take riskier shots, lob more grenades) or cower like a bunch of pansies (i.e. take fewer shots and generally keep their distance from enemies). It sounds good on the box and works decently in-game, but, again, its not as effective as you may think. Score more headshots, grenade kills, etc… and you heighten your morale. “Lose” a squad mate (I say “lose” a squad mate because, as it is described by Midway, they are only temporarily knocked unconscious) or take considerable amounts of damage and squad morale will reduce.

As decidedly average as the rest of the game has been, there’s certainly nothing wrong with "BlackSite’s" beautiful, Unreal 3 Engine-powered visuals. Character models standout with realistic eye, body and mouth movements. Lighting and dynamic shadows are spot-on (though shadows obviously needed to be fine-tuned slightly as well before the game was released) and the post-process FX gives the game a bright, glossy sheen that – if your system can handle it – you will definitely reap the benefits of. While previous Unreal 3 Engine games have lacked environmentally, environmental textures and architecture here are boldly designed and mipmapped highly. Outdoor locales look spectacular with pitch-perfect lighting and shading.

It’s just too bad then that "BlackSite" suffers from numerous graphical bugs and glitches. The first of many is the horrendous framerate. One second the game is running smooth as silk, the next the framerate is somewhere in the low teens, possibly lower. The glitches can be countless at times; re-used textures, disappearing NPCs, floating weapons, massive clipping problems, and no animations for your squad mates getting in and out of the many vehicles you commandeer. It should also be noted that corridors are simply that – corridors. They, too, are barren with very little flair. Decals are practically non-existent and the washed out color scheme in many of the in-door locales is an eyesore.

If you can get past the annoying graphical glitches and one of the worst framerates I’ve ever encountered, you will be treated to some excellent music, sound FX and voice acting. I don’t expect much from first-person shooters in regards to sound, just that the guns sound like big, bad mothers and not pop guns. The weapons here sound nasty and will put your Dolby Digital setup to work if you have one. Music is sparse but befitting to the mood whenever its applied. I was also impressed by the voice acting. For a game that rips its plot out of cheesy B-grade sci-fi/action flicks, the performances were surprisingly believable. Granted, the dialogue wasn’t the sharpest, but I blame a lot of that on the suits at Midway for possibly dumbing down Harvey and company’s initial vision.

I'm not a multi-player gamer by way of choice, but I do make my way to online sessions when coerced by friends (or when the need to review that portion of the game for this very purpose arises). I would be more than happy to jabber on about how "BlackSite's" multi-player component is the singleplayer component's saving grace. I would, might be able to say that if players were ever online. The setup looks decent; a couple of playing modes, varied maps, a respectable number of maximum players able to join any given game, etc... It's just too bad, then, that I wasn't able to find anyone willing to brave it online.

And if that isn't enough mediocrity for you, most gamers will be able to breeze through "BlackSite" with little problem. The easiest difficulty offers nothing in the way of challenge and the AI is incredibly lax. No tactics displayed by way of your foes, no flanking – just run ‘n’ gun. That seems to be the game Midway wanted, but I get the unshakeable feeling that this could have been something more. Perhaps something so much more entertaining, intelligent, and rewarding than your typical shooter.

But what can you do? What’s done is done. All that’s left are some entertaining shootouts, interesting creature designs, a handful of nice cinematic touches, moderately sharp level design, and beautiful graphics. At its core, "BlackSite" is an average first-person shooter. But with a man like Harvey Smith dedicating himself to a project, that’s not what the end result should have been. No, BlackSite should have been – if not remarkable – at least better than a three star FPS with a horrendous framerate and unbelievably glitchy game play. Its unfathomable why Midway would ship a product out like this. For a couple extra dollars to meet the holiday rush? Perhaps. But they’re paying for it now. Is "BlackSite" terrible? Not at all. It’s just unbelievably mediocre. And when games like "Crysis" and "Call of Duty 4" have just been released, mediocrity simply isn’t acceptable.

Fiend was THE preeminent rapper on (what I'm assuming we should be calling the "Old") No Limit Records. He needed to blow up bigger, he needed higher album sales, and he definitely needed a bigger fan base. He pushed over a million units, collectively, with "There's One in Every Family," his No Limit debut, and the record in question, which was to be his final album for the backsliding label. Although Fiend wasn't a particularly NEW rapper when he signed to No Limit Records (he released "I Won't Be Denied" on the New Orleans-based indie label, Big Boy, in 1995), he did, however, solidify and improve upon his charismatic sound when he signed with P and company.

Fiend's arrival on the scene announced a new age for No Limit. Along with Mac, he was the undisputed talent of the label. Much like Mac's NL debut, Fiend's was also mortally conscious, as well as vulnerable. It also crept into familiar upbeat, thuggish territory not far removed from that of the other No Limit soldiers’. Though "There's One in Every Family's" starkness and perfect production is what has truly withstood the test of time all these years, Fiend held his own on the mic well considering he was always considered a faceless stem on the No Limit plant. Regardless, "TOiEF" has remained one of the most satisfying No Limit releases of all time despite increasingly aging production and, likewise, the equally aging pop culture references. So what does that say about "Street Life?" Not much, really. But it does set some fairly hefty expectations for it.

The most notable difference between "Street Life" and its excellent predecessor is beat quality. That's not to say that Beats by the Pound don't put in some serious work here. On the contrary. Of the so-eloquently-named "backslide era" No Limit releases, this is one of the better produced (rivaled only by C-Murder's "Bossalinie," though Beats by the Pound had very little to do with that one). "There's One in Every Family," though, was very heavy on the N’awlins machine gun bounce No Limit had become synonymous with, whereas "Street Life" is much more experimental (saxophones, pianos, and industry... that's all I'll say) in comparison. Granted, "TOiEF" is the better album by far, but "Street Life" earns its points by allowing the BbtP crew to expand themselves a bit further in their compositions.

I did appreciate the different approach the BbtP crew took here, but the familiarity that plays a large part in many No Limit releases is virtually absent throughout "Street Life." I did, however, welcome the rare sung hook, few guest appearances (17 tracks, 16 songs, and only six guest appearances... that must be setting some kind of record for an NL release), and a very solid, cohesive sound. With the BbtP crew focusing on one distinct sound, the record flows much better as a result. And with only 16 songs there is rarely a moment wasted, lyrically or beat-wise.

Despite the very experimental production, Fiend hasn’t changed much. Even with the inclusion of a lighthearted sex joint, everything else is either loud & boisterous or reflective & meditative. As I previously mentioned, Fiend gets much more time to shine without with little interference. Fiend proves, very effectively, that he is one of the few ex-No Limit acts that could’ve carried an album by his lonesome and he does so here with stunning results.

When Fiend doesn’t decide to go it for dolo, enlisted are cats like Holloway (of the Ghetto Commission), Magic, Skull Duggery, and a few others. These rappers complement capital F-I well (especially Magic) and have always been the more talented rappers on the large NL roster. But the moments where Fiend performs solo were most appreciated by me. “Street Life” is one of the rare moments where an NL soldier truly gets to craft an album representative of himself and not P. Fiend does not waste this opportunity.

Being a No Limit release, though, “Street Life” is certainly not without its flaws. It may only be 17 tracks in length (relatively short in comparison to other NL releases at the time), but it still has some blatant filler. The production is also far more experimental and, maybe as a result of that, less funky than anything Fiend has rapped over to date. Some may appreciate it, others may not, but it is ultimately up to the listener to decide that. Sure, "Street Life" does have its problems, but the fact that this feels like a Fiend album and not a No Limit compilation surely counts for something. It’s not as good as “There’s One in Every Family” but, then again, that’s not a fair comparison.

For a third release from an artist of Fiend’s caliber, there’s no reason not to expect a five-star release. But this will do the job until we can get another one of those. Appreciate it for the fact that this is a true solo outing and probably the sort of album Fiend has wanted to release all along. Despite its oddball production and the aforementioned filler, “Street Life” is still a very strong record from an artist that should have blown up a hell of a long time ago. Let ‘em know who you are, Sleepy Eyes.

What is the desired worth of a torture flick in today's world of PG-13 horror films and summer blockbusters? The first "Hostel" was a major success, in director Eli Roth's opinion, because it mirrored the violent atrocities of America (and other countries') involvement in the war in Iraq. To Mr. Roth, it acted as sort of a grisly wake-up call to sleeping audiences, and at that, it worked... sort of. So what did he have to say about "Hostel: Part II?" Simply this: it was meant to tap into the "guy next door" paranoia that runs rampant in the United States. He wanted to create the unshakeable feeling that even the most average of men could become cold-blooded killers. Did he succeed? Well, in essence, "Hostel: Part II" is more plot-driven than its gruesome predecessor, but it checks the character development at the door. Its strengths don't lie in the same areas the first film's did. Instead it works on levels previously unseen for the flourishing franchise.

I did appreciate Roth's focus on plot over hardened bloodshed as I feel it made this a better watch for admirers of the previous "Hostel." Sure, there's blood and guts (and torture) to spare, but I think what really sold "Hostel: Part II" to those that can find some beauty in it is the added back-story. The Elite Hunting corporation's "how-to's" on operation are quite interesting, and Roth approaches it like a true fan boy. We even get to see more of Paxton (Jay Hernandez), the survivor from the previous film, and how he's coping with those traumatic events. Indirectly, the way Roth approaches these elements makes the film feel more like a true sequel; a real continuation and deeper exploration of the mythology. The man knows his stuff.

It's just too bad, then, that the characters aren't as interesting as the plot. That's no fault of leads Lauren German, Bijou Phillips, and Heather Matarazzo, though. They all give their characters a fair shake. Roth's script is just so focused on the film's much-publicized "twist" and the refreshing back-story the picture spends most of its time on that interesting and believable characters obviously weren't on the menu. I will give credit where credit is due to Richard Burgi (Todd) and Roger Bart (Stuart), though, as the "American buyers." Their performances are rock solid and completely believable.

Some have also complained that Roth deleted most of the visual grit from this sequel and opted for an "artsier" look in comparison. The torture chambers are still putrid in look thanks to fantastic set design, but Roth is much more interested in crafting a more visually conventional picture this time around. He treats this movie like any other director would treat their project, not just as a horror director making another horror flick. The use of event foreshadowing, great slow-motion shots, beautiful montages and a fantastic sequence involving the saturation of color makes this some of Roth's most appealing (and mature) directing yet.

One of the biggest complaints about the theatrical cut of "Hostel: Part II" was that there wasn't enough gore. There was, in fact, more gore than the previous "Hostel," it just wasn't as abundant. This unrated director's cut of "Hostel: Part II" really doesn't add much to its 95 minute run time other than more wanton violence and gore, but I'm sure that's just fine with many horror fans. Nearly every gory set piece has had some kind of extra footage attached to it, including but not limited to Paxton's dream sequence, the "Ms. Bathory" sequence, and the sequence involving the unmentionable appendage getting clipped off.

I really did enjoy "Hostel: Part II," but it took me a few watches to truly grasp that. I liked the first for the gore, but I ended up enjoying this one for the fleshed out back-story on the Elite Hunting company, as well as for the subplot involving Burgi's and Bart's respective characters. With all of the fan boy love ad nauseam Roth injects here, this one IS strictly for the fans. But maybe Eli has something more on his hands than we've given him credit for thus far. Bring on "Hostel: Part III."

Fiend: the 17th Ward soldier is the very definition of the phrase "pent-up aggression." There was no one quite like him before he signed with No Limit and there certainly hasn't been anyone like him since. Not only my top pick as the most volatile, aggressive, energetic, and downright charismatic rapper that has EVER come out of the No Limit stable, but damn talented with the writtens as well. Fiend is living proof that No Limit did have some talent hidden beneath the outright mediocrity they eventually began to mass produce. No Limit fans, Fiend fans, and Fiend himself will tell you this over and over again... he's the baddest mother(cough) alive. Believe it.

Standing toe-to-toe with Master P's "Ghetto D" is no easy task, but Fiend's "There's One in Every Family" manages to be everything that "Ghetto D" was... and wasn't (in a good way). First and foremost, KLC, Craig B., Carlos Stephens and the rest of the Beats by the Pound crew deliver some of the funkiest, bounciest beats I've ever heard from them. A vast array of styles are covered musically. The crew's production is, of course, very dark at times, and the synths are omnipresent, but the album has this overt funkiness that makes quite the satisfying blend for Fiend's boisterous delivery and tough lyrics.

In fact, it's a wonder that this album didn't gain more exposure BECAUSE of the excellent Beats by the Pound production. Though it may not be mainstream enough for most listeners and there really is no clear-cut radio-ready single, nearly every song hits hard no matter the approach BbtP take. Synths, piano keys, mandolins, the skittering hi-hats; it's all in here and it sounds as good as it's ever sounded.

Fiend was the rare exception on the No Limit roster that was both intelligent and thuggish. There are a number of songs dedicated to inner-city angst and unruliness, life's uncertainty's, and, typically, growing up in the ghetto. Hell, Fiend even touches on his own mortality and the problems he's faced dealing with the death of his brother because, in his words, "we both share the same mother." Fiend is topically diverse and that is what seperates this so drastically from other No Limit releases. He is also a fantastic rapper that indulges in wit, self-parody, and also random humor. No two tracks are the same and this makes "There's One in Every Family" refreshing.

If there was any No Limit rapper that could've carried an album by his lonesome, it was Fiend. It's a shame, then, that this album is loaded with countless guest appearances that pull the spotlight off of him. Master P, Snoop Dogg, C-Murder, Silkk the Shocker, Mia X, UGK, Mystikal, Big Ed, Kane & Abel, Soulja Slim, Full Blooded and others appear at least once. Some appear multiple times. Fiend's follow-up record, "Street Life," had very few guest appearances, but is much less enjoyable, ironically.

Fiend, like many of P's ex-soldiers, never gained the noteriety of the Miller brothers. That's how P marketed them. Although Fiend moved over a million units on No Limit between his first and second records, he has always been the very definition of a "cult rapper." But if there are any No Limit enthusiasts out there that know of Fiend but have never bothered with one of his solo records, seek this out. It's very pricey, used or new, but it's worth every penny.

Magic was always one of the more talented soldiers on Master P's once-mighty No Limit recording label. As with many of the label's artists, Magic never opted to rap about anything particularly substantial, but his gravel-voiced delivery, potent energy, and above average writing abilities placed him a cut above the rest. It must have been with great anticipation, then, that No Limit fans awaited the arrival of his first full-length, the aptly titled "Sky's the Limit."

Sky's the limit for what, exactly? Having a spot on the No Limit roster between early-'98/early-'99 virtually guaranteed a large fanbase and piles of cash. Maybe the sky was the limit for Magic's life - from the album's release date - onward. Perhaps it announced his arrival and, likewise, ability to live comfortably. Yes, the sky was the limit for Magic. He was signed to the premier (independent) Rap label of the mid-to-late '90s, backed by money-making Beats by the Pound production, and executive produced by a business mastermind (Master P). And with P's help, it almost guaranteed that if Magic didn't make waves in the mainstream, he would still go at least gold, as well as maintain a HUGE cult fan following elsewhere.

Magic's albums have always kind of defined what the current sound of No Limit is, from his debut, to his sophomore record, "Thuggin'," to his final long-player for No Limit (by that time they were known as The New No Limit), "White Eyes." "Sky's the Limit," however, delivered a sound that was very experimental for the Beats by the Pound crew. Some of the experimentation included the use of guitars, incorporating various sound effects INTO the music itself, sometimes even going as far making the beats slightly industrial. The money was longer by mid-'98 and BbtP were able to expand the sound of their patented drum-n-synth beats into something much heavier. That meant heavier drums, heavier bass, and heaving synths. The sound on many No Limit albums, particularly this one, sharply contrasted what was popular at the time.

The deep bass lines and skittering hi-hats had become a No Limit trademark by the time "Sky's the Limit" was released, but P's production crew were really starting to perfect their evolving craft here. Although variety doesn't seem to be No Limit's spice of life, the familiarity plays a large part in this record's sonic success. The production is consistent in delivering ONE sound; a very dark, menacing sound. BbtP play that to the hilt and deliver some of the best beats that have come out of the label's large catalog since.

But, again, this is a No Limit release, so expecting lyrics that greatly impact the listener are really out of the question. Magic is a solid rapper; charismatic and highly energetic, in fact. His flow is usually on-point as well, which is more than I can say for a handful of other ex-No Limit artists. Topics rarely deviate from common thug anthems of drug dealing, running from the cops, sometimes having sex with various women and the occasional introspective joint to bring everything full circle, though. Again, you're not listening to a No Limit album for variety in subject matter. These albums, however repetetive, are important because they perfectly exemplified dirty south gangsta rap at its most basic. No Limit's artists delivered unadulterated thugcore that was, at times, cartoonish, but surprisingly entertaining.

The guests here, considering that this is a No Limit release, are just as prominent as the rapper being featured. They are so prominent, in fact, that this almost feels like a No Limit artist sampler. Magic may be a strong rapper with limitless charisma, but after 21 songs (not including the Intro), it becomes tiresome. The guests are here to help pad out the playing time just as much as they are here to make the album that much easier to sit through. This isn't so much a Magic solo album as much as it is an album FEATURING Magic (and a lot of other No Limit rappers). But it does alleviate any problems there would have been listening to Magic drone on for 22 tracks by himself.

"Sky's the Limit" hasn't become as important to No Limit diehards as, say, Master P's "Ghetto D," Silkk the Shocker's "Charge It 2 da Game," Mystikal's "Unpredictable," Mr. Serv-On's "Life Insurance," or C-Murder's "Life or Death" have. It's a spectacularly solid listen that, while not bringing anything new to the No Limit table, is very familiar and that certainly counts for something in our world. Fans of Magic won't find a better solo LP from him. It really is too bad that the partnership between Magic, P, and C had to sour the way it did. After leaving the label, Magic also abandoned any kind of artistic credibility he once had. It's a shame, really. He'll probably never reach these heights again.

It seems almost pointless to review any large number of solo or group LPs coming from the once-mighty No Limit camp. These albums, though highly important to the label's diehard fans, are all but forgettable to everyone else. Interchangeable artists lead to interchanegable long-players and No Limit, past or present, was/is the definition of "virtually interchangable." Any No Limit album could have been mistaken for another and, oftentimes, they were. And with that said, it does leave me uncertain as to why I'm reviewing Mr. Serv-On's debut record, "Life Insurance" despite the "been there, done that" feel.

Maybe it's Beats by the Pounds' fantastic production. Maybe it's Serv's unapologetic lyrics and subject matter. Maybe it's because "Life Insurance" seems more like an individual's record and not like the work of a semi-talented cog in a label full of them. Whatever it may be, No Limit needed more rappers like Mr. Serv-On... let alone more ALBUMS like Serv's "Life Insurance." It's just too bad, then, that this record never received the attention of less important No Limit LPs that appeared after it.

Beats by the Pound, as is usually the case with any No Limit album, are the stars here. The crew provides sufficient beats for Serv throughout. Although nothing is incredibly innovative, it is solid and even occassionally funky. P's production crew had yet to fully develop their trademark sound, but "Life Insurance" is where it really began to take shape.

Jumping from dark and bassy to upbeat and synth-heavy, there aren't a plethora of styles covered here, but the beat palette is fitting for an MC of Serv's caliber. The compositions are never too complex (or varied) that any handful of P's soldiers couldn't have rapped over them, but that is one of the record's charms. The dark sound that BbtP make sure to permeate "Life Insurance" with was key in making this one of the most sonically enthralling No Limit albums released.

Serv, though no technically gifted rapper, was much more talented than many of his No Limit brethren. Though his sophomore album, "Da Next Level," found him altering his flow to an almost remarkable level, "Life Insurance" finds Serv adhering to a less complex flow and typical guns-n-drugs subject matter. It's a comfortable listen for No Limit enthusiasts but not quite as ambitious as his sophomore set. This lack of ambition, however, is what seperates it; for better or worse.

There are a good number of more topic-oriented tracks as well. A club number, introspective joints, even some rampant mysogony thrown in for good measure. You're not going to find songs questioning the meaning of life on a No Limit record and Serv knows this. This is mostly substandard gangsta material and, again, this makes "Life Insurance" a comfortable listen for No Limit diehards. Lyrically, Serv makes it interesting, but for anyone who tires of repeated subject matter, this isn't one for you.

As with any NL album, there are an innumerable amount of guest appearances. Just scratching the surface, Master P appears at least three times, Brotha Lynch Hung puts in an appearance, as does Mac, Kane & Abel, Mystikal, Mia X, Prime Suspects, Fiend, and others. There are only a handful of solo tracks handed to Serv and that is the only detriment to this record.

"Life Insurance," otherwise, is one of No Limit's best releases. Strong production, strong lyrics, and a charismatic rapper at the helm makes this one that should be copped by any No Limit enthusiast. Although it is pricey these days, it's certainly worth the money despite the cost. A No Limit classic and an album that should be more celebrated than it, ultimately, ended up being.