Friday, January 30 2015
With underdeveloped female characters and an emotional generic backstory, Project Almanac is trapped too much in formula for the youthful energy of its cast to rise to the fore.
In reducing the complexity of its characters, Black or White boils down complex racial dynamics to worn-out tropes, like the "well-meaning white guy".
Nick Kroll and his gaggle of comedian friends clearly think themselves hilarious; from a viewer's perspective, however, that judgment is usually questionable in Kroll Show.
Grief, upheaval, and a creative exile serve as the backdrop for the latest from rising California singer-songwriter.
Following the conceit of the “versus” listed in the artists’ category (“Jim White vs. Packway Handle Band”) title, on Take It Like a Man, White and the band alternately offer songs with just one co-written between them.
The remote mountain villages of le Chambon and the Plateau Vivarais-Lignon were Protestant havens that opened their homes to shelter countless Jewish children during WWII.
Not only are these songs about crushes, they feel just like one: emotionally intense, completely beautiful, and above all, fleeting.
Black Star Elephant proves to be a pleasant, uplifting album, though by no means earth shattering.
Thursday, January 29 2015
Fantomas Versus the Multinational Vampires is a blend of narrative genius with deep political philosophical significance, couched in a surreal blend of comic and prose.
Legends of the Knight takes the cultural impact of Batman seriously by highlighting a few of his biggest fans, even though the hero worship gets a little redundant by its conclusion.
More than 50 years into her career, Bettye LaVette still has a voice for the ages.
Like that lady who dreams of an Oklahoma where Shirley Jones and Gordon McCrea dwell, we can fantasize of an England where our neighbors lead rich and eccentric lives and invite us over for a friendly spot of tea.
Gazing upon this vast collection of images with an abundance of rare and previously unseen stills, one cannot help but feel that Gottlieb-Walker captures the films' ontological identity.
If you like the sound of a saxophone flying solo, just wait until you hear it in a big-ass church.
The pop veins that Vance Joy mines so beautifully are unrequited and disbelieving love, and the songs’ appeal lie primarily in Joy’s voice, a voice that projects tremendous yearning.
Wednesday, January 28 2015
In the fictional film Princess and the documentary The Wolfpack, a child's resilience might thwart even the most determined of boogey men.
Wonder Woman is the ultimate feminine ideal, but even she deals with her share of insecurities.
There’s more of value in one Calvino essay about Roman pig sties than there is in a week’s worth of slop from the Huffington Post.
Pawel Pawlikowski's frosty drama, although perhaps too simple for its own good, elevates strong emotional connections from an entirely chilly exterior.
The Lone Bellow knows how to nail a crescendo. The problem with Then Came the Morning is that it makes it seem like the band is only good at that.