The Ithacan

“Infinity War” is the perfect part one of what is likely to be the grandest and most expansive two-part epic to ever grace the silver screen.

Since Travis Bickle from Martin Scorsese’s “Taxi Driver,” rarely have there been protagonists like the tortured Joe (Joaquin Phoenix).

While his message is admirable, his corny lyrics turn a powerful song into something that belongs in an after-school special.

Fear permeates every scene. The audience members, mirroring the characters, sit uncomfortably in their dread.

Lord Huron, an indie-folk dynamo of Midwestern mysticism and lakeside loneliness, returns with an updated sound and an eye toward the stars.

Desplechin’s direction is as hypnotic as his story is muddled, and at least his central performers get ample opportunities to show off their range.

 
“Ball For Me”
Post Malone, Nicki Minaj
Released April 26
Republic Records
Post Malone masterfully constructs a dynamic rhythm out of morphing, gooey synth effects and structured beats.

However unfortunate it is that this film isn’t original or riveting, it does receive one accolade: the ability to make the audience laugh.

Though Briggs is able to impress with her vocal prowess, “Church of Scars,” though long anticipated, leaves a hollow feeling of unfulfilled expectations.

Disregarding the last five minutes of the movie, “Beirut” is a captivating spy thriller that holds the viewer’s attention and tells a fairly successful story.

Brad Peyton has a knack for putting Dwayne “The Rock” Johnson into seemingly inescapable situations and having him come out completely untouched.

“America” is ambitious and feels like a natural addition to Thirty Second to Mars’ ever-changing catalog.