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...sociopath and a lunatic, a senseless rage-addict and a goon. But apply the words that open the film to the persona Refn manifests in Peterson and, more subtly, Refn himself, and “Bronson” offers a much more sensible portrait of the artist than it ever does of its subject. But ambitions at auto-portraiture aside, “Bronson” is, at its heart, a deeply engaging character study that suggests this man may be more (or less) than, but never equal to, the sum of his parts...
...play alongside other talent for extended periods of time; for all his breadth, his character has only two speeds (break-neck and dead-stop) and very little depth. Instead, “Bronson” remains a riveting one-man show, and that’s all it ever asked...
...hadn’t really ever thought of that until earlier this year. Giving a tour amidst the calm energy of Tercentenary Theatre in September, I was asked if Harvard was competitive. I said it was not. I remembered overhearing on one college visit that students would rip out the pages of library coursepacks so that other students couldn’t use them before exams. I’d never experienced anything like that at Harvard. On the contrary, a certain sympathy saturates the drudgery of Lamont during reading period...
...love you’ is lying.” On “Assassin,” Mayer compares his failing relationship to a “Mr. and Mrs. Smith” dynamic, singing, “I was a killer / Was the best they’d ever seen / I’d steal your heart / Before you ever heard a thing / I’m an assassin and I had a job to do / Little did I know that girl was an assassin too.” Mayer’s knack for dissecting the nuances...
...past few years. The eleven tracks strike a pleasing balance between the acoustic pop of “Room for Squares” and the electric blues-rock throwback of 2006’s “Continuum.” The gorgeous “All We Ever Do Is Say Goodbye,” with its simple guitar strumming, melancholy strings, and stunning vocal harmonies, is the album’s clear standout, sounding like the best ’70s soft rock gem never written. “Do You Know Me?...