After spending almost four months in treatment for emotional and physical distress, Demi Lovato is back with an album that turns personal hardship into soulful gold.
Girls, a folksy San Francisco duo, wowed the indie scene with their catchy throwbacks to 1950s rock ’n’ roll on their debut LP, “Album,” in 2009. Two years later, they have returned with a full-length sophomore effort that proves the first time around wasn’t just luck.
Echoing cross-genre films such as Adam Sandler’s “Click” and “Funny People,” which borders the line between comedy and drama, director Jonathan Levine’s new dark comedy “50/50” is a creative and effective mix of tragedy and humor.
More than five years after the release of their Grammy-winning opus, “Stadium Arcadium,” the funk sensation Red Hot Chili Peppers trade in their amateur antics for a deliciously developed tone.
When Disney released the animated film “The Lion King” in 1994, it created a childhood classic. But almost two decades later, the company’s attempt to remarket the story is little more than a childish sales pitch.
Sarah Jessica Parker trades in her scandalous life as a New York City singleton in the HBO series “Sex and the City” to play a mother of two in the endearing comedy “I Don’t Know How She Does It.”
In “Drive,” director Nicolas Refn defies the mainstream formula for action movies by trading witty one-liners and 30-minute explosion sequences for a meaningful character struggle and a love story that doesn’t rely on a one-dimensional hot babe in a fast car.
In burgeoning writer Vanessa Diffenbaugh’s “The Language of Flowers,” the Victorian idea of flowers having their own messages is used as a way to tell a story of betrayal, motherhood, love and ultimately redemption.
In its newly released fourth album, “Night Shades,” Cobra Starship hides its typically quirky and catchy lyrics, infamous guitar riffs and complementing keyboards in a mix of bumping beats. While club-goers may be wearing sunglasses at night, the band’s older fans may be using them to hide a tear or two.
“Apollo 18” takes elements from every horror movie with that handheld-camera look in the past decade and sends them to the moon in a new sci-fi thriller that fails to launch.