Jamrock quartet Spafford rocks the Great American Music Hall to provide the Bay Area with a sonic oasis for escape from dystopian air quality problems in the wake of the latest wildfires.
There's a rotten core at the center of Lubitsch's Heaven Can Wait. No matter how engaging I find Haskell and Sariss's enchantment with the film, I cannot accede to their critical adulation of it and of Henry.
Beginning in Cuba in 1965, Ginsberg recorded his experiences behind the Iron Curtain. Iron Curtain Journals: January-May 1965 brings us with him, via his intimate diary.
Many of Jon Morris's characters in The League of Regrettable Sidekicks are proven to be a reflection of their times not only culturally but in terms of the evolution of the genre, as well.
In the Coen Brothers' The Ballad of Buster Scruggs, there's something altogether new about having revisionist western ideas filtered through their rich sense of character, black comedy, and their penetrating awareness of humanity's fatal imperfections.
Death Valley Girls' Darkness Rains is a stew of bad attitude, crunchy guitars, and simple, pounding drums. But occasionally the band throws in a twist, which at least perks up the ears a bit.
Bought to Rot moves Laura Jane Grace away from the overt politicality and social consciousness evident on previous releases to focus on the personal and autobiographical.
Funny and thoughtful but not sharp enough, Jason Reitman's satire about Gary Hart's tabloid downfall aims for controlled chaos but settles for conventional finger-wagging.
Glen Campbell was enlisted to record demos for Elvis Presley because Campbell could sing in the same key and replicate Presley's distinctive style. The songs on Sings for the King were intended only for Elvis to hear.
