Even in a crowd of so-called hipsters, I entered the floor of the Jefferson Theater Feb. 4 with a sense of smugness unparalleled by any other concertgoer there.
When Ben Thornewill, the vocalist for the Philadelphia-born, Brooklyn-based trio Jukebox the Ghost, abruptly stopped playing piano mid-song during the group’s Feb.
As a general rule, it’s safe to say acoustic albums are a bad idea. Whether you’re a mainstream chart-topper or a soulful indie crooner, you’re bound to have something to gain from an instrumental or electronic arrangement that consists of more than the endless strumming of guitar strings.
Arts & Entertainment is back again with our new series, U.Va. Faculty Go to the Movies, where we get exclusive interviews with your favorite faculty members about the movies you care about the most.
This is 40 is the sequel to 2007’s Knocked Up, except, this time, Pete (Paul Rudd) and Debbie (Leslie Mann) try to navigate the complications of turning 40, years after the events of Knocked Up. In pop culture today, the mid-life crisis has become an accepted reality, and sometimes even an indulgence or a moment of spiritual transition.
Carleigh Nesbit, a fourth-year College student and Charlottesville native, has finally come of age in the local music scene.
I sometimes find it astounding that a few short minutes of deliberately placed melodic notes and well-chosen words can so easily capture emotions universal to mankind.
Zombie movies are overdone. You can only take a zombie premise so far, and lately this tired genre, like its antagonists, has been a largely brain-dead affair.
Few films grab my attention for a full two hours, but The Impossible accomplishes this feat with ease.
Once upon a time, musicals were the bread and butter of Hollywood filmmaking. With massive box-office figures and sturdy critical appeal, song-and-dance spectacles such as Anchors Aweigh and Kiss Me Kate lit up the big screen throughout the ‘40s and ‘50s. That said, when rock-and-roll music took over the airwaves and the so-called “New Hollywood era” of the late 1960s and ‘70s began, traditional movie musicals seemed outmoded and irrelevant.
After a full day of boutique hopping, I settled down in my friend’s trendy New York apartment, winding down while browsing the BBC on my laptop.
Until last Wednesday night, I thought I was the only one raised on Citizen Cope’s “Sideways.” It was the first track on the first mixed CD that my first boyfriend gave to me.
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.
