The beautiful and bland: Gothic drama plateaus in ‘Rebecca’ reboot
Netflix/Courtesy
This newest reproduction of “Rebecca,” directed by Ben Wheatley, is a gilded tchotchke: beautiful aesthetics elevating mediocre substance.
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Sacha Baron Cohen breaks from formula in ‘Borat Subsequent Moviefilm’
It’s in these moments that the shortcomings of “Borat 2” are most obvious: There isn’t anything to be learned from its central experiment.
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Wallows plants sensational seed of indie rock evolution in ‘Remote’
But despite some minor shortcomings, Remote certainly shows signs of great promise for the future of Wallows.
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Shotgun Players’ ‘Citizen Brain’ smartly champions empathy
“Citizen Brain” succeeds most effectively in its complete and utter honesty; it reads like a friend telling you of a revelation they had without interruption.
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Sincerity clashes with success on the Mountain Goats’ ‘Getting Into Knives’
While the album has some flaws in its execution and often feels less personal than it ought to, the arc of Getting Into Knives bends to an evolved but comprehensive entry into the band’s discography.
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Storytelling project ‘Chinatown Pretty’ is featured at Eastwind Books panel
Eastwind Books of Berkeley hosted a virtual book talk to feature “Chinatown Pretty,” a book that is part of a larger project to share the style and stories of Chinatown’s senior residents.
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Nightly’s Jonathan Capeci talks debut album, moving to Nashville, gratitude
While Nightly has always boldly explored feeling brokenhearted in its music, the band’s latest record also focuses on personal change and growing up.
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An intervention in monument-making: A Litquake book talk with Natasha Trethewey
Trethewey writes about loss and monuments with a masterful hand, but what made the talk exceptionally poignant were Foster’s considerate but challenging questions.
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Together, Adrianne Lenker’s ‘Songs,’ ‘Instrumentals’ are intimate, evocative folk masterpiece
Putting on Songs and Instrumentals feels less like listening to an album and more like hearing raw emotion flow into your ears.
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In ‘Welcome to the Blumhouse’ roulette, Sydney Sweeney’s ‘Nocturne’ fires a blank
“Nocturne” tunes all of its cinematic instruments to play a serious, thrilling horror piece, but it delivers a disappointingly flat performance.
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