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...matter how many critics bash this movie, chances are that hordes of romantics are still going to go see it, even if “Love, Actually” is ten times better. Though the latter film has as big an ensemble cast, it somehow manages to connect to a viewer, likely because the movie’s plot does not unfold over such a limited time-span...
...festival would be fun and not too heavy. Regardless of whether or not the mood of the festival is light, attendees can be sure that their stomachs will be heavy with food after the screenings—a fitting complement to the fare that they saw on the big screen...
...egos, it showcases a clear model for interactive, thoughtful and creative jazz. Though the concert was rather safe, with a ‘high art’ undertone that went against the grain of the music itself, the interplay between the musicians was inspiring and fresh, providing hope for big jazz concerts to come. Let’s hope they swing this hard the next time around...
...many people John and Virgil encounter are certainly memorable as well. Perhaps the best is delivered by a masked John Cho, who spends his exchange with John engulfed in flames. Likewise, Peter Dinklage’s portrayal of a typical nobody who thinks he’s a big shot gives his character the same kind of sass he displayed as Miles Finch, the “South Pole...
This failing is also apparent on “The Big Guns of Highsmith,” a track whose chorus is the confused, and eventually annoying “Hurts to be the one who’s always feeling sad / Oh just stop complaining, Oh just stop complaining.” Left alone with nothing but a bare piano accompaniment, the lyrics feel whiney and self-indulgent instead of meaningful...