Word: musicals
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...Greek,” opening June 4, Jonah Hill (“Superbad”) plays the awkward, music-loving Aaron Green, an employee of a major recording company. When his boss sends him to meet rebellious, free-wheeling rockstar-turned-junkie Aldous Snow (Russel Brand) Aaron is nowhere near prepared for the wild hijinks that ensue. He has 72 hours to get Snow from his penthouse in London to the Greek Theater in L.A., but Snow is not going quietly...
...raised or answered in a way that is logical, credible, or intriguing. The scenes drag on, as the storyline needlessly complicates itself further and further. It does not take long for the incessant action to turn into monotony. Viewers are presented with painfully gory scenes set to painfully sentimental music, for painfully long periods of time. But those scenes make no gesture at self-awareness; instead, the camera takes a step back and gives viewers a lot of time to contemplate the violence, making the scenes tedious, slow, and overwrought...
...show. Imitating the visual style of Spanish director Pedro Almodóvar, Campanella frames some shots with dramatic red curtains and varies shots between warm and cold colors, but he does not use the effect consistently. Campanella shows the violent, bloody corpse in long takes set to emotional music in a way that Martin Scorcese had been doing since “Gangs of New York,” brought to a real level of expertise in “Shutter Island.” In these movies Scorcese achieves a conceptual depth that Campanella only aspires to. He does...
...combination of genres sounds promising. With the three opening tracks of “Swim,” Caribou shows he can do dance. And he’s proven with remarkable consistency over a decade of music-making that he can do ambient electronica. But somehow, when those two aspects merge in songs like “Bowls” and “Leave House,” they lose much of what makes them compelling in the process. Less than the sum of its parts, the record’s middle section decelerates and de-energizes...
...dance track but, for all its echoes of New Order and layered instrumentals, never achieves liftoff, sinking instead into a repetitive morass. None of these tracks are exactly bad, but they all feels slightly aimless, lacking both the propulsive physicality of Caribou’s dance music and the fragile beauty of his spaced-out electronica...