#10) “(If You’re Wondering If I Want You To) I Want You To” by Weezer

#9) “Screen Test” by Envy Corps

#8) “Cornerstone” by Arctic Monkeys

#7) “Velvet” by The Big Pink

#6) “James” by Camera Obscura

#5) “Help I’m Alive” by Metric

#4) “So Human” by Lady Sovereign

#3) “1901″ by Phoenix

#2) “The Fixer” by Pearl Jam

#1) “Zero” by Yeah Yeah Yeahs

20) “Black Magic” by Magic Wands

19) “A Whole Lot Better” by Brendan Benson

18) “The Reeling” by Passion Pit

17) “Heartbeat Radio” by Sondre Lerche

16) “How You Like Me Now” by The Heavy

15) “Think I Need It Too” by Echo & The Bunnymen

14) “Blood Bank” by Bon Iver

13) “One Wing” by Wilco

12) “Trouble Weights A Ton” by Dan Auerbach

11) “Beginner’s Luck” by The Eels

30) “Loaded” by The Idle Hands

29) “I Wonder Who We Are” by The Clientele

28) “Drown In The Now” by Crystal Method featuring Matisyahu

27) “Last One to Die” by Rancid

26) “Don’t Haunt This Place” by The Rural Alberta Advantage

25) “Twilight Omens” by Franz Ferdinand

24) “I Know What I Am” by Band of Skulls

23) “Never Forget You” by Noisettes

22) “No Wedding Cake” by Fol Chen

21) “So Far Around the Bend” by The National

40) “Teen Beast” by Los Straitjackets

39) “Show Me How This Thing Works” by Cracker

38) “Fitz and the Dizzyspells” by Andrew Bird

37) “The Great Defector” by Bell X1

36) “Smoke Bros” by Amazing Baby

35) “Complicated Shadows” by Elvis Costello

34) “Sugarfoot” by Black Joe Lewis & The Honeybears

33) “The Calculation” by Regina Spektor

32) “The Box” by 1990s

31) “Roman History” by Pet Lions

2007 Marks the 25th Anniversary of the “G.I. Joe: A Real American Hero” line. To commemorate the event, Hasbro released all new sculpted 3 3/4″ figures based on the more popular characters such as: Duke, Scarlett, Snake-Eyes, Gung-Ho, Roadblock, Cobra Commander, Destro, Baroness, and Cobra Enemy Trooper. These figures feature more articulation and are reminiscent of their original incarnations.

Are the G.I. Joe 25th Anniversary action figures worth your time?

If you were a boy growing up in the 80s, there’s a strong possibility that you owned at least a handful of these action figures. These guys were cool for a number of reasons: they had great character design, there was poseability that was ahead of its time, and these toys had both a cartoon and a comic book reinforcing how awesomely awesome they actually were. It’s all about commercialistic mind-control.

So for Hasbro to go back and modernize the line while staying true to the essence of originals…it seems like a no-brainer. And for the most part, these figures work.

Hasbro didn’t try and reinvent the wheel. All fifteen initial releases look and feel like the classic Joes…with a modern twist. In most cases, the articulation is slightly better (as is the paint application). Hasbro even went the extra mile to make varied body sizes; the Heavy Machine Gunner, Roadblock, is quite buff compared to his other Joe teammates. To make the figures just a little more special, the carded figures have packaging that closely mirrors the original 80s style. It’s a nice touch, and it shows that a good design can remain good, even a quarter century later.

Of course, nerds can always find something wrong, and I’m no exception. The biggest no-no of the line is the fact that many of the figures have a hard time holding their weapons. Whether that’s due to soft plastic or poor sculpting, the fact remains that these military toys can’t keep track of their armaments.

Also, Hasbro dropped the ball for a number of the figures in terms of accessories — or the lack of them. For instance, the iconic Snake Eyes figure packaged with his wolf, Timber (you know the one I’m talking about) lacks both his trademark sword and a backpack to store it. Hasbro also reused parts for some figures instead of creating a new part that more closely resembled the original iteration. If Hasbro wants to make a big deal about recreating the past lines, they better make sure they do it when it counts.

While it’s always easy to complain about something, the fact remains that this new line of G.I. Joes is, overall, a lot of fun. Hasbro got it right more that it got it wrong, and because it’s only their first attempt, there is reason to believe that they’ll fix some of the issues in future waves. The Scope gives these troops a moderately boisterous, “Yo Joe!”

Live Free or Die Hard is the fourth installment in the Die Hard film series. It stars veteran actor Bruce Willis as John McClane, the hero of the first three films. The film takes place some 19 years after the first film, and sees McClane face a gang of Internet terrorists led by Thomas Gabriel (Timothy Olyphant.) McClane doesn’t face the baddies alone, however. He’s forced to protect and eventually team up with nerdy computer hacker Matt Farrell (Justin Long, Ed, Jeepers Creepers, The Mac Guy.) Together, they must take out the bad guys, rescue McClane’s daughter, and make sure the baddies don’t wipe out the Internet.

Is Live Free or Die Hard worth your time?

The original Die Hard succeeded because it took an average, fallible, tough-guy cop and placed him in a confined, desperate situation. It worked because you felt as if this “everyman” could be killed at any moment, that success wasn’t guaranteed. But in the end, he overcame his limitations and saved the day. McClane wasn’t a superman; he was a man who performed superbly.

The following two sequels never really captured the essence of a Die Hard film. 1990’s Die Hard 2: Die Harder seemed quite implausible and lacked a truly terrible villain. 1995’s Die Hard With A Vengeance paired Willis with Samuel L. Jackson in a race around New York City to stop a bomb placed by super terrorist Simon Gruber. While many believe DH3 was the better sequel, it deviated from the Die Hard formula enough to feel like more of a typical action movie than the classic McClane adventure.

With Live Free or Die Hard, it still doesn’t feel quite right. McClane is running around the eastern seaboard with a partner, doing miraculous thing after miraculous thing. Sure, John gets the crap beat out of him, overcoming impossible odds. But in the end, he’s still the one delivering the witty line after downing the terrorist. The same old same old.

While watching this film, you never think it’s anything more than a standard action film with the lead character from Die Hard. LFODH also struggles with lazily constructed plot twists (John conveniently knows how to pilot a helicopter because that’s the only mode of transportation) and terrible supporting roles (witness uber-nerd Kevin Smith single-handedly drag the film to a halt playing an…uber-nerd/computer hacker living in his mommy’s basement.)

Live Free or Die Hard does have some redeeming qualities. The first action sequence in which McClane rescues Farrell from attacking terrorists is claustrophobically fantastic. But in the end, the good parts and Willis’ charisma simply can’t save an average action movie. I’d say better luck next time, but let’s be honest: the first Die Hard is the only Die Hard we’ll really ever need.

Scope scores for the other Die Hard films:

Die Hard: 4 Stars
Die Hard 2: Die Harder: 2 Stars
Die Hard With a Vengeance: 2 1/2 Stars

Wilco turns back the clock in their latest release Sky Blue Sky. In homage to 70s rock, Wilco strips the bells and whistles found on previous albums and puts out their most organic album since their 1995 debut A.M. Lyrically, Jeff Tweedy doesn’t mess around with vague lyrics that are left up to interpretation. They are pleasant, straight forward, and get directly to the point.

Fans of Jeff Tweedy’s work with Uncle Tupelo and earlier Wilco albums will embrace the albums back-to-basics musical approach. Tweedy and guitarist Nels Cline make a slick guitar tandem which is highlighted on the last three minutes of “Impossible Germany”, a track they’ve been kicking around for years. For the most part, the instrumentation on the album seems polished and near flawless. However, there is not enough substance and hooks throughout the album that works for me. Sky Blue Sky may have been better served as a six-song EP featuring the first four tracks “Either Way”, “You Are My Face”, “Sky Blue Sky”, “Impossible Germany” along with “Leave Me (Like You Found Me)” and “What Light”. After first listen, Sky Blue Sky had me slightly disappointed and wanting more. After second listen, I began to appreciate the songs I initially liked even more because of their simplicity and sincerity. My feelings for the other six tracks didn’t change on second try ironically for the same reason: too simple (and too boring).

For the last decade, Wilco has possibly been one of America’s greatest and most intriguing rock bands jumping from their rootsy alt-country sound (A.M. and Being There) to its experimentation with noise-infested pop and rock & roll (Summerteeth and Yankee Hotel Foxtrot) and back full circle to a warmer, more tuneful sound (A Ghost Is Born and moreover on Sky Blue Sky). Therefore, they are allowed a pass when dropping a lackluster album for the first time in their 12-year existence. The big question now is: Which direction does Wilco go next? If it was up to me, Sky Blue Sky would simply be a quick stop home to where the gang came from before taking off into their second journey toward something more interesting and adventurous.

Is Sky Blue Sky worth your time?

Depends. Since there are three types of Wilco fans (ones who only like the alt-country albums, ones who like the experimental stuff, and ones who can enjoy all of it), your interest could vary with this one. If you are a Wilco completest, you already own the album and have formulated opinions by the time you read this. If you are a casual Wilco fan or a fan of well-crafted guitar rock circa 1968-1974, you may want to start with “Sky Blue Sky” and “Impossible Germany” and then purchase the other four suggested tracks if you can get into these two. After that, proceed with caution.

Hearing Sky Blue Sky tracks in concert may be the best vehicle for experiencing these songs. Wilco has a knack for bringing out the best in songs that may seem bogged down on albums. For proof, check out their live album Kicking Television: Live in Chicago and what they do with tracks like Foxtrot’s “Poor Places” (minus the last 1:30 of feedback) along with their tracks from A Ghost Is Born. Wilco is touring North America starting June 13th with opening act Low.

Al’s scores for previous Wilco albums:

A.M. (1995) 3 stars
Being There (1996) 3 ¼ stars
Summerteeth (1999) 4 stars
Yankee Hotel Foxtrot (2002) 3 ¾ stars
A Ghost Is Born (2004) 3 ¼ stars

The 2006-2007 season of Saturday Night Live was one of change. Weekend Update anchor Tina Fey (along with Rachel Dratch) left the show to focus on 30 Rock while Horatio Sanz, Chris Parnell, and Finesse Mitchell were let go due to massive budget cuts.

This left a lean and mean cast of eleven, with Seth Meyers taking over the coveted Weekend Update co-anchor position. But the big question remained: could this small cast overcome these changes and succeed after a number of uneven seasons?

Before that’s answered, let’s take a quick look at each individual along with some other key aspects of SNL.

The Cast

Fred Armisen – Armisen wasn’t featured as much this season even though he’s considered to be one of the veteran cast members. He did contribute to a few solid sketches and shined during Weekend Update as Steve Jobs and as Larry Seidlin, the whimpering judge. One note: the Noony and Nuni Schoener sketches aren’t funny. Please stop them now.

Will Forte – Will started the season as the man picked to imitate George W. Bush…but that only lasted a few episodes (Jason Sudeikis took over the role). Forte whipped up laughs with his MacGruber bits and Tim Calhoun but fell flat with The Falconer.

Bill Hader – Hader had a solid season (especially when he played Vinnie Vedecci and one of the “Same Sex Couple in New Jersey”) but some of that goodwill is lost when you take into consideration his part in the “Four Guys singing to jukebox bit.” Awful.

Darrell Hammond – He’s the go-to guy in terms of imitations. Yes, sometimes he stumbles (Arnold Schwarzenegger isn’t great), but his Regis, Cheney, and Trump are all on the mark. Truth be told, he should be the one doing the presidential parodies.

Seth Meyers – Seth was featured almost completely in the Weekend Update segment…with varying results. Clearly, he was uncomfortable in the early episodes. But over time, he grew into his role as co-anchor. A solid but unremarkable year.

Amy Poehler – in previous seasons, Amy seemed to be one of the most fearless and stand-out cast members. This year she was slightly more subdued. Still, she was quite good as Kim Jong II and Kaitlin (who finally reappeared at the end of the season).

Maya Rudolph – She was great every time she pulled out the Whitney Houston impression. But her standout performance might have been the sketch in which she tried to seduce Shia LaBeouf …mostly because their first names rhymed.

Andy Samberg – He’s the quirkier, uglier James Fallon. Still, he often was the centerpiece of the odd, more daring sketches. And don’t forget about the digital shorts. Two years into the show, he’s a valuable cast member…but it still seems like he hasn’t quite found his voice.

Jason Sudeikis – Sudeikis is likable and seems to be the ultimate utility player with a few standout characters. Still, his Bush imitation is weak…and that’s not a good thing for a show known for its spot-on political commentary. His Simon Cowell imitation did improve over the season, however.

Kenan Thompson – NO MORE DEEP HOUSE DISH! NO MORE DEEP HOUSE DISH! NO MORE DEEP HOUSE DISH! And just a little more Al Sharpton.

Kristen Wiig – The standout player of the season. Her Target employee character is funny (but sometimes uneven), her part in “The Two A-Holes” is solid, and her latest character invention, Penelope (the queen of one-upsmanship) hits all the right notes. Don’t miss her Nancy Pelosi bit in reruns.

The Hosts

As always, some celebrities excel on SNL, some flop. This season had its fair share of both. Alec Baldwin was brilliant in his 13th hosting gig and Justin Timberlake did a great job at his second attempt of leading the show. Sports superstar Peyton Manning was surprisingly good as was up-and-comer Shia LaBeouf. Not so solid hosts included Dane Cook and The Office’s Rainn Wilson. Ban Dane Cook forever.

Overall

Saturday Night Live, as it has been for 32 years, is an uneven affair. Not all sketches can be winners, and this season was no exception.That being said, SNL is only as good or as bad as its sharp, biting political commentary.

This year the show failed in that respect.

The blame has to start (and end) with the presidential sketches. Both Will Forte and Jason Sudeikis couldn’t quite capture the essence of President Bush, making every presidential appearance painful and boring. This lead to many weak and overly-long openings, setting a negative tone for the remaining sketches. Lorne Michaels has to recapture the political mojo before the elections really start to heat up later this year. Otherwise, the 2007-2008 season could be a massive disappointment.

In the end, the 2006-2007 season of Saturday Night Live wasn’t particularly stellar and it wasn’t a complete disaster. It was average. And that’s the same score it will get from The Scope.

Guitar Hero II is the sequel to the incredibly popular Guitar Hero. In this game, players wield a guitar-shaped peripheral as the primary controller. The gameplay is similar to other Harmonix music games, in that the player must play scrolling notes to complete a song. In the case of Guitar Hero, the player must use the guitar peripheral to play the scrolling notes the corresponding fret button on the guitar neck and simultaneously pressing the strum bar.

The Xbox 360 version of GHII features enhanced graphics over the PlayStation 2 version as well as an additional 10 songs over the standard 64 tunes.

Is Guitar Hero II worth your time?

Yes, Yes, Yes! At $89.99, GHII is the most expensive Xbox 360 game on the market. And even at that price, once you start playing, you’ll be hard-pressed to stop.

Guitar Hero II has the perfect storm of fantastic gaming elements: a substantial list of tunes, gameplay that allows for both marathon or quick gaming sessions, decent graphics, and a fun two-player mode. Throw in fifty Xbox Achievements and the ability to download songs from the first Guitar Hero ($6.25 for a three-pack, or about two bucks per song, unfortunately) and this game really does prove that it has it all.

With Guitar Hero III and Guitar Hero: 80s Edition coming soon, you won’t feel like the big plastic guitar controller will go to waste anytime in the near future. So go out, pick up the game (if you can even find it in stores), and rock out. Guitar Hero II is definitely Scope-approved.

The team that brought you Shaun of the Dead, writer/actor Simon Pegg and writer/director Edgar Wright, returns with Hot Fuzz, another genre sendup that turns the Hollywood buddy-cop adventure on its ear. Hot Fuzz is the story of Nicholas Angel (Simon Pegg), London police officer of superior skill. Angel’s policing ability is so far above that of his colleagues and superiors that they arrange for him to be promoted to sergeant and transferred to the sleepy, crime-free village of Sandford. Sergeant Angel is partnered with PC Danny Butterman (Nick Frost), a fan of overblown Hollywood action films, and the two investigate a suspicious string of accidental deaths.

Is Hot Fuzz worth your time?

Hot Fuzz is a great experience from beginning to end. Much like the genre-mixing Shaun of the Dead, Hot Fuzz is not afraid to break the boundaries of what you expect an action film to be. It’s sometimes a comedy, sometimes an action film, and occasionally a grisly horror film, but it seems to avoid the pitfalls of each genre. Just when you think you know how the film is going to deal with a particular situation, it takes it in a new and interesting direction, all while never taking itself too seriously.

The characters are also well-crafted. They are simultaneously familiar and unique; you’ve seen these types before, but not quite in this way. These are American character stereotypes filtered through British comic sensibilities and given new life with excellent writing.

Hot Fuzz is just pure fun to watch. The ending is a bit predictable, but it hardly matters at that point; there are too many laughs to be had over the course of the film for this one lapse to sully the experience.

Grindhouse is a double feature consisting of two feature-length segments directed by Robert Rodriguez and Quentin Tarantino, bookended by trailers for “coming attractions”, advertisements, and in-theater announcements reminiscent of those typical in U.S. theaters in the 1970s.

Rodriguez’s feature is a gory flick called Planet Terror in which a poison gas is released into the air, turning local inhabitants into violent, zombie-like creatures. Tarantino’s contribution to the double feature is called, Death Proof. In this film, a crazy stuntman befriends young women only to lure them into his car and kill them. His plan would have gone perfectly if he only avoided targeting a group stunt women who were more than prepared for his deadly intents…

Is Grindhouse worth your time?

Clearly, the general film going population doesn’t think it is. But the real answer is slightly more complicated than that.

Truth be told, Rodriguez seems to understand the goal of Grindhouse: make a loving tribute to the low budget, hypersensational films popularized in the 1970s. Planet Terror features all the gore, corny dialogue, sex, and action one would expect. While Rodriguez certainly takes filmmaking seriously, he doesn’t ever lose sight of the fact that the genre he’s imitating isn’t all that great. So the end result is a film that’s fun to watch and is loyal to the source material.

Quentin, on the other hand, seems to miss the point. Death Proof is a great concept with a perfectly cast villain (Kurt Russell.) But over the course of 90+ minutes, Tarantino unleashes meandering dialogue, a disjointed plot, and action that really doesn’t kick in until the last third of the film. Death Proof feels more like a Tarantino flick than a grindhouse film. And the most disappointing aspect to it all: when Quentin’s script does veer into Pulp Fiction-style dialogue, it feels like a rehash (and not a particularly good rehash) of his other great movies.

At the end of the day, Grindhouse only gets it half right. While that’s enough to warrant a viewing, it’s definitely disappointing, considering the exceptional talent behind the movie.