Word: punks
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Dates: during 2000-2009
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...understanding indie music fans, the movie comes across as contrived and unemotional. Nick, played by Michael Cera of “Juno” and “Superbad” fame, is devastated after his girlfriend Tris (Alexis Dziena) breaks up with him. Being the generic emo-punk that he is, he makes her dozens of mix CDs with heart-rending titles such as—in one of the film’s best and most subtle jokes—“Road to Closure, Volume 12.” One of Tris’s best...
Already known for integrating various genres of music such as free jazz, a cappella, and punk, the members don’t stray very far from the aesthetics that solidified their reputation as one of the most innovative groups on the indie circuit. Synthesizers abound, vocals are distorted, and the choruses come like slaps to the face. Lyrics genuinely reflect the anxiety of struggling with identity in an increasingly sterile and industrialized society. In other words, it’s just TV on the Radio being TV on the Radio...
...that spending a night in New York City can crack the shell of stereotype to reveal your utterly cool inner life to someone who turns out to be your soul mate. For Nick, that would be Norah Silverberg (Kat Dennings), whose top-girl hauteur masks her discontent with every punk-star wannabe who wants a recording contract with her music-producer father. She doesn't need leeches; she wants a boyfriend. Just not the quiet, doomed bassist in a queercore band...
...American B movies. As briskly as the Mesrine story hurtles through its heists, holdups and hair-breadth escapes, the camera moves faster, but always purposefully. Richet brings all the characters to plausible, entertaining life, but Cassel easily dominates the action. Often, as in Eastern Promises, he plays the strutting punk with more bravado than brains. Here he's the unchallenged star, the total movie criminal: smart, daring, ruthless, indomitable. At least till Part...
...Bette Davis, Ida Lupino could play waifs or wantons, but she always gave her characters the wit and glamour required to wrestle with their fates. In Moontide (1942), she's the last hope for French icon Jean Gabin; in Road House (1948), she's the torch singer hired by punk Richard Widmark: two solid noirs starring one classy dame...