The year is 1947, World War II has recently ended and Sherlock Holmes has retired from world-class detective work to the English countryside.
Antoine Fuqua’s “Southpaw” tells the story of fictitious lightweight boxer Billy Hope. The film follows his life from utter turmoil to eventual triumph.
When asked in a 2006 interview with Popworld whether heavy metal band Bullet for My Valentine would go more commercial, the band’s frontman Matt Tuck replied, “We would never do [that] ... We’re more interested in what our music sounds like than what our f---ing hair looks like.” Since then, the band has lost its catchy sound and dropped their iconic screaming for radio-friendly vibes. Nevertheless “Venom,” BFMV’s fifth album, has stopped the band’s spiral into mediocrity.
Dr. Dre released his third and final studio album, “Compton,” on Aug. 7, 16 years after his last album, “2001.” A compilation of everything that makes Dre, Dre, “Compton” is an ode to his hometown, reflects on his upbringing and features many of the rap artists he’s helped along the way. “Compton” does its best to transport listeners to the city of Compton, beginning with a newscast-like introduction to the story of Compton’s potential glory and rapid downfall.
USA Network has long been a safe harbor in the often-overwhelming sea of television choices, offering non-challenging shows with procedurally formatted single-season arcs.
Pop culture’s last few years have once again proven the circuitous nature of mainstream music. First we saw Robin Thicke’s “Blurred Lines,” which is virtually a cover of Marvin Gaye’s “Got to Give it Up,” and now the charts have been invaded by Bruno Mars’s “Uptown Funk” and its suspiciously strong influences of The Gap Band’s “Oops Upside Your Head” and Michael Jackson’s “Jam.” So when Tame Impala’s founder Kevin Parker described the purpose of his new album “Currents” to “The Atlantic” to be to “convince a few die-hard rock fans that ‘80s synths can fit over a ‘70s drum beat,” a few were understandably concerned. After all, “Lonerism” gained universal recognition and had already set unreasonably high standards for its sequitur.
With all of the auto-tuned and heavily edited studio beats present in modern music, it isn’t every day a band sounds better live than on iTunes.
“Almost, Maine” is almost bearable. Almost every character in the play is trite and one dimensional.
Of Monsters and Men, a band formed in Iceland in 2010, has achieved remarkable international success in the past few years.
“Amy” ends. The credits roll, but no one stirs. Instead, we sit, myself and roughly a dozen others, with our eyes fixed on the screen.
Jamie xx's solo debut, “In Colour,” is at one moment jubilant and bright and at the very next melancholy and murky.
Rather than glorifying the bittersweet intricacies of teenage terminal illness, “Me and Earl and the Dying Girl” offers a raw, often humorous look into a friendship infected by cancer.
People generally go see strippers for one reason: to watch them strip. People go see movies about strippers for a slightly more varied set of reasons — perhaps for the cast, perhaps for a little narrative context to go with their chiseled abs — but for the most part, they want stripping.
Former Beatle Paul McCartney made his first-ever appearance in Charlottesville at the John Paul Jones Arena June 23.
Miguel Jontel Pimentel was born into a musically inclined family. Heavily influenced by his parents’ affinity for R&B and jazz, Miguel began pursuing a career in the music industry at age thirteen.
Since its inception, Pixar has been making people laugh, cry and feel a whole other host of emotions with stories based around characters which are usually not even human.
In “Entourage,” the film adaptation of the identically-named HBO series, main characters Vince (Adrian Grenier), Ari (Jeremy Piven), Eric (Kevin Connolly), Turtle (Jerry Ferrara) and Johnny Drama (Kevin Dillon) are up to their old antics.
Lord Pretty Flacko, better known as A$AP Rocky, has been quiet the last few years, but he certainly has not been inactive.
Twenty One Pilots’ latest work, “Blurryface” is nowhere near as fresh as their third album, “Vessel,” making “Blurryface” somewhat underwhelming in comparison.
The majority of the so-called “rich kids of Beverly Hills” share three characteristics that have changed very little over the course of the show's two previous seasons. The first is an obsession with material wealth, which seems genuine.
