If you were expecting to hear new material — or even beloved classics — on Destiny’s Child’s 2013 compilation album, Love Songs, you will be sorely disappointed.
Every once in a while, a foreign art house film comes along and manages to break into the mainstream movie market.
As the opening half of Super Bowl XLVII dragged on, the only thing keeping me even mildly interested was Beyoncé’s looming halftime performance.
Have you ever wondered what your favorite professors would think of your favorite films? Would you jump at the chance to compare notes with a media or politics expert after viewing today’s most relevant and exciting pictures?
I don’t know what it is about USA’s Suits that makes me wish I had cable TV in my apartment. Is it the impeccable custom-made suits that Harvey and fellow lawyer, and once scrub, Mike wear that make my heart melt?
You’ve probably heard of Yo La Tengo. From the early ‘90s to the mid-2000s, the band’s name, if brought up by one of your Bohemian musicophile acquaintances, was always followed by the hackneyed hipster-ism “You’ve probably never heard of them.” You probably truly haven’t heard, however, that during the height of the band’s career, Yo La Tengo’s blend of noise-rock, lo-fi production, sensitively structured songs and occasional forays into whimsical pop repeatedly earned it the moniker of “quintessential critics band.” Nevertheless, the band’s performance at the Jefferson Theatre and the release of its January album Fade have given audiences the sense that the band’s heyday has passed and it has ceded its position in the sideshow spotlight that is the “Indie scene” to hipper and more hipster acts.
Movie 43 opens with a struggling and misguided filmmaker (Dennis Quaid), dressed in skateboard shoes and a zip-up sweatshirt, desperately pitching a project to a major production agency.
It’s not everyday that you see a grown woman urinate on the face and chest of a young man, but this sight is just one of the many outrageous spectacles that make Lee Daniels’ The Paperboy one of the wackiest films in recent memory.
I first caught sight of The Carrie Diaries when I was watching the season finale of Gossip Girl. Every other commercial break included a spot advertising this new show.
If you’re like me, you’ve watched American Idol since it debuted 11 long years ago. Like me, you may also wonder what happened to those contestants — winners and losers alike — who either peaked early and plummeted, or who shot up out of the blue, only to drift back into anonymity in a flash.
By bribing them with free food, drinks and live musical entertainment, I managed to rally a group of friends to head over to Final Fridays with me last week at the Fralin Museum of Art, one of the most student-friendly artistic programs the University has to offer.
In the wake of some wildly successful television sitcoms, it seems as if there has never been a better era for the genre.
If you have ever jammed to “Anna Sun”, you too know the infectious energy of Walk the Moon, the alternative rock band performing at The Jefferson Tuesday.
Until True, there has been little opportunity to appreciate Solange Knowles’ talent. It was her older sister Beyonce who emerged as the star and a pop culture icon when the golden age of Destiny’s Child ended.
Promised Land is a simple and predictable film that nonetheless leaves you with some nice ‘warm and fuzzies.’ Screenwriters John Krasinski and Matt Damon team up with director Gus Van Sant, known for Good Will Hunting and Milk, among others, to create a socially relevant movie about small-town American life and its battle with corporations. Matt Damon stars as Steve Butler, a natural gas salesman who uses his small-town background to relate to the folks to whom he tries to sell his commercialized dream.
“Monback,” once an abbreviation for “come on back,” now can be heard during fans’ encore chants at venues such as the Norva and the Jewish Mother in Hampton Roads.
Lena Dunham’s Girls is not Sex and the City. Disregard any review that claims this is “SATC for the Gen 2.0!” because it isn’t and Lena Dunham’s hapless protagonist, Hannah Horvath, is nothing like Carrie Bradshaw.
Gangster films have been a staple in Hollywood since the 1930s, depicting the struggle between cops and goons of varying intelligence and guile in brutal fashion.
Comebacks. They’re what diehard fans of countless artists dream about, usually to no avail. After keyboardist Drew Stavola left Mutiny Within and Roadrunner Records dropped the band for failing to achieve high-enough record sales with its debut album, vocalist Chris Clancy left because of financial difficulties and the group went on hiatus.
There’s a scene in the first American Pie where Jason Biggs’ character, desperate to land a prom date, creates a profile on a fictitious dating website.
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