Saw VI

Saw VI is an engaging leap into the repugnant. The plot continues along the path of the Jigsaw Killer's successor as the FBI tries to find him.

The movie is finely tuned to meet today's horror standards as the GAME is finally understood. Saw VI is probably the most elaborately done of the Saw saga. With gruesome traps and the rich setup, provided by Patrick Melton & Marcus Dunstan, Saw VI is a maniacal movie with gore
more sinister than the Friday the 13th movies. The final trap puts the cherry on top inciting

sickening brouhaha.

Saw VI is the most definitely the most pleasing of the Saw movies since the twisted, Saw III. Costas Mandylor (Hoffman), Tobin Bell (Jigsaw) and Betsy Russell (Jill Tuck) all add intense delirium to the film.

Fans of the movie will be outdone. This is horrific carnage at its finest.

Final Grade: A

SoundMasons' Classy Debut

Funk and rhythmic effervescence are the dominating forces driving SoundMasons' The Manor. The album is an assortment of schematic illustrations that paint a swanky vibe.

The trio from Los Angeles, California includes guitarist and lead vocalist, Miles Moore; bass player, Jelani Thomas and drummer, Alex Lopez. SoundMasons seem to define their sound by crafting music that gives a nod to rock legends such as Jimi Hendrix, The Moody Blues and Steve Miller Band, while keeping the mood refreshing and modern.

"Starry Nites," is an overtaking opener that careens towards the speakers. The track is a multiformed piece of epic proportions. It has addicting properties due its nimble chorus. "Pipe Dreams," continues in the same vein of "Starry Nites," but drifts away because of bellowing guitar riffs and drum pitter patters.

"MoodRing," is the most stylish composition on The Manor. The atmosphere on the cut is nonchalant. "Tell Her," has a Beatles feel to it staggering breathlessly for four minutes; while "Truth," mellows with superb instrumentation and captures the essence of rock music.

The Manor is a welcoming debut from a trio looking to cement themselves amongst the music greats. SoundMasons achieve sonic creativity with The Manor leaving the listener wondering what they'll think of to create next.

Final Grade: A

Dr. McNamara Flips Out

The Stepfather follows a homicidal killer who is now living under a different name. The plot seemingly tells the story of John List, who was accused and found guilty of killing his wife, mother and three children.

Nip/Tuck's Dylan Walsh gives a believable performance as the psychopath, but does not begin to touch the creepiness of Terry O'Quinn's performance in the 1987 version. Although, there are numerous delightful moments in the film, it drags and drags and drags. The only highpoint was when his wife's friends and family start to figure out how bonkers the man is.

It is too soon to tell if this remake will spawn another as the original did. The movie was overall amusing and entertaining, for its bravery in tackling List's insanity, but the lacked the bravado seen in the original.

Final Grade: C+

Hidden Neo-Soul Gems: Joslyn

Joslyn may be neo-soul's best kept secret. Her voice is undeniably tranquil and passionate. Hailing from the nation's capital, her voice bursts with smooth inflections that set her apart from many of today's artists.The debut album is a jewel for its harmonizing hooks and soulful delivery. She invites the listener to take a glance at her vocal ability on "So Cool," the starter of the album. It is a funky cut that sets the tone for the rest of the debut.

The album's best track, "Used To," is a mesmerizing mid tempo piece. She reaches into the depths of her graceful voice and delivers the lyrics with vibrancy and the music interpolates with zip, making for an exhilerating track worth listening to several times.

Joslyn, who had previously collaborated with electronic genius', Kaskade, taps into the soil of rhythm & blues on the ear tickling "Love Surreal," simmers into the piano on "Do Whatcha Gonna Do," and becomes ethereal on "At The Same Time," a six minute piece that is both light and subtle with a sax accompanying.

Eleven tracks do not begin to describe the substantial talent that beckons from Joslyn. Her vocal exercises on this album prove that she is a force to be reckoned with in the neo-soul world.

Download: Used To, At The Same Time, Got to Keep On, Stay High

Final Grade: A

Colour Me Free By Joss Stone

Joss Stone is a soulful and enchanting vocal talent in the R&B scene. She has sold over ten million albums since she first dropped, The Soul Sessions, back in 2003. Now she returns with her fourth album, Colour Me Free!. The album due out on October 20, is a more developed sound for the English singer.Following in the footsteps of her previous work, Introducing Joss Stone, which of the four was the most experimental, Colour Me Free has a diverse sound with its musicians: saxophonist David Sanborn, Tony Toni Tone artist Raphael Saadiq and legendary percussionist Sheila E. The disc packs twelve tracks that find Stone revisiting her lively sound.

The catchy "Parallel Lines," operates in a high octave blare with Stone's voice dancing around Jeff Beck's fusion and Sheila E's captivating sound. The mellow, "Lady," perhaps a sound Joss Stone finds the most cozy, is sweet and soft in delivery because of its nightclub appeal and coercing social commentary.

Colour Me Free had been pushed back due to record label issues. Joss Stone, said that this record is her most musically "free." The album for the most part seems to invite a bluesy feel, with prompt guitar riffs and bar draping arrangements. Joss pays homage to the 70's on "Governmentalist," which features Nas and "Incredible," both of which sound like they could have come from R&B legends, The Staple Singers.

The lead single, "Free Me," is a rapid gem that should play well on urban contemporary radio with its zesty richness. The final track, "Girlfriend On Demand," finds Joss harmonizing with a piano symphony and delivering masterfully.

Colour Me Free displays a more smoky Joss Stone than previous efforts, however does not match the sultry friskiness of Mind Body & Soul nor the upbeat versatility of Introducing Joss Stone, but glides along as a propelling and sprightly delivery from the England native.

Download: Free Me, Parallel Lines, Lady, 4 & 20, Girlfriend on Demand

Final Grade: B-

Mya Is Back

The last time we heard from Mya musically, she was stalking a crush in the music video "Fallen," the second single from Moodring. Mya returns this year with a mixtape entitled, Beauty & The Streets Vol.1. Being her first mixtape under an independent record label, Mya shows forth her soft voice through the fifteen tracks.

The mixtape incorporates a club theme with Mya delivering superbly despite plain lyrics. The anthem, "I'm Back," is a speaker driven reflection into the prism of the D.C. native. It finds her discussing her absence and she is aided by rapper Slim Thug. The first single, "Show Me Somethin," finds Mya calling herself "the ghetto Jada." The song sounds less poppy than some of her previous songs that have been hits. It is very radio friendly.

Mya, who has always shown forth her mezzo soprano voice with ease seems to find comfort in the lower tempo tracks rather than the up tempo cuts. Her voice settles nicely on "$ Can't Buy My Love," Go Hard or Go Home," The Only One," and the stripped down "Ponytail." With a cool collaboration from rapper, Nicki Minaj, "Ponytail," is the most memorable from the set because of its alluring value. The whispery tone of Mya is seductive and inexplicably sexy.

It is hard to like Beauty & The Streets because of its vacuous qualities. There are no real standout cuts from the disc despite the magnetic aforementioned track. Still, Mya is back with her radiant gift despite the lackluster lyricism present.

Download: Ponytail

Final Grade: C-