BY CHRISTIAN KENNEDY
Many would not consider themselves a fan of folk, but after listening to Moore and Green’s harmonious duets, music fans will be begging for less bass and auto-tune and more banjos.
BY OMAR MAHMOOD
The film should be appreciated not for the arcs of its individual characters, but for its color and the breathtaking scope of its storylines and themes. It should be read for what it is: a Hispanic in the mold of the Cervantine novelas.
BY HAILEY MIDDLEBROOK
In the CW’s new show, newcomer actress Gina Rodriguez plays Jane Villanueva, a 23-year-old girl whose character stands in stark contrast to all of the Samanthas and Serenas on TV.
BY MELINA GLUSAC
Tired, familiar, boring — that’s the sophomore slump. Many artists fall into it and can’t get back up. But that stigmatic phrase is nonexistent for British techno diva Jessie Ware, as if she’s never heard of those words strung together.
BY KAREN HUA
Going forward, “Marry Me” doesn’t need to try so hard to retain the audience’s interest, because the simple chemistry of Wilson and Marino can hold it up more than the clichés they embody.
BY JACOB RICH
Unfortunately, apart from the impressive detail in the Orc captains, the game doesn’t look or sound all that great. It’s certainly technically impressive on PS4, but Mordor just isn’t that interesting of a setting
BY KARSTEN SMOLINSKI
Not particularly engaging as an action movie, “Fury” stands more strongly as a dramatic testament to the horrible acts humankind is capable of doing to itself.
BY NICK BOYD
Prior to Schoolboy’s entrance, Hill Auditorium was teetering on the border of mellow, but when he took the stage and opened with “Fuck LA,” Q had the audience in the palm of his hand from beginning to end, delivering the show everyone wanted to see and electrifying the auditorium.
BY GILLIAN JAKAB
"Just have fun. I suffered for 42 years so people can have a lot of fun reading about it. That’s my hope. Enjoy my suffering."
BY COSMO PAPPAS
Théâtre de la Ville’s performance of one of Pirandello’s theatrical masterworks will not disappoint in its prompting of questions that strike to the very heart of understanding oneself as a self that lives among others.
BY MAYANK MATHUR
It’s pretty evident that “The Disappearance of Eleanor Rigby,” directed by newcomer Ned Benson, could have done with a lot less beating around the bush and more of beating the shit out of it.
BY CHRISTIAN KENNEDY
Coming from someone with a fresh tattoo and rook piercing, country group Little Big Town’s sixth studio album, Pain Killer lived up to its name. It certainly numbed my pain.
BY KATHLEEN DAVIS
In a way, it’s the timelessness that’s the draw, allowing us to get absorbed into the drama, or the comedy, or the sadness, yet when the curtains close we’re eased back to reality, taking the influence of art back with us. And that in and of itself is a beautiful thing.
BY DREW MARON
“The Knick,” as of right now, is the best new show on television, and certainly the only new show that can join the ranks of “elite” cable programming such as fellow newcomer “True Detective.”
BY AKSHAY SETH
In the first 15 minutes of “There Will Be Blood,” there is only silence.
BY ALEC STERN
We are the Now Generation, and television — once appointment entertainment — is becoming yet another thing we can take control of. Go. Anytime. All Access. This is the beginning of the most revolutionary change since color television.
BY VANESSA WONG
There’s somewhat of a disparity between how high school kids actually interact with technology and how the film portrays them. The issues it tackles are real and show a deft view of Internet culture, but doesn’t always grasp the teenagers’ motivations behind their actions.
BY NATALIE GADBOIS
There is no formula to doing nude right, and I bet seven out of ten people reading this disagree with me from one side or the other. But while watching “Gone Girl” for the second time this weekend, my mom turned to me and asked “Is that all we get?” in reference to Affleck’s big reveal.
BY VANESSA WONG
Somehow, despite its clichés, “The Judge” is oddly moving.