Marc Rizzo

The Redstone Room

Wednesday, April 9, 8:30 p.m.

Blues musician Guy Davis is the son of legendary actors Ossie Davis and Ruby Dee. His 1998 CD You Don't Know My Mind led the San Francisco Chronicle to rave, "Davis' tough, timeless vocals blow through your brain like a Mississippi dust devil." His 2003 release Chocolate to the Bone received a W.C. Handy Award nomination for Best Acoustic Blues Album, one of nine W.C. Handy nominations Davis has received during his career.

So it comes as something of a surprise when Davis, during a recent phone interview, says, "The first time I remember hearing the blues, it was being played by white college boys.

21

Based on the Ben Mezrich nonfiction Bringing Down the House: The Inside Story of Six MIT Students Who Took Vegas for Millions, the film 21 boasts a far snappier title, yet I wouldn't recommend viewing it if you're even a day older than that. It's not often that a true story is re-told with such aggressive fraudulence, but 21 is a rare and rather spectacular failure - one in which your bullshit detectors wail at you early on and don't stop until you're rendered nearly deaf. The movie is directed by Robert Luketic, who also helmed Legally Blonde, and it's all just slightly less believable than Legally Blonde.

DRILLBIT TAYLOR

Last summer, when Superbad hit it big, we learned that co-writers Seth Rogen and Evan Goldberg wrote a first draft of the script when they were 13. Rogen is now credited as co-writer (with Kristofer Brown) for the revenge-of-the-nerds comedy Drillbit Taylor, and although I haven't done any research on the film's history, I'm kind of hoping it's something he began working on when he was, say, eight or nine. Juvenile is one thing, but remedial is quite another, and unfortunately, Drillbit Taylor feels as though it was hastily assembled during a grade-school sleepover in which Rogen began prepping Superbad, with My Bodyguard and Ferris Bueller's Day Off used as additional "inspiration."