“After” takes a problematic fanfiction and turns it into a frustrating and predictable movie.
Few images have been burned into the American consciousness like the young robbers’ violent demise in Arthur Penn’s “Bonnie and Clyde.” Bullets punch through the car into Bonnie and catch Clyde in an agonizing slow-motion free-fall, a haunting, iconic scene that looms over John Lee Hancock’s new Netflix drama, “The Highwaymen.” It’s about the Texas Rangers who riddled Bonnie and Clyde with bullets, and Hancock’s film never leaves the shadow of Penn’s 1967 take on the story.
Two years after Billie Eilish catapulted onto the indie-alternative scene with her EP “dont smile at me,” the 17-year-old artist released her magnum opus of a debut album: “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?” Eilish explores the positives and negatives of adolescence, love and pain, all with a mix of somber vocals and sharp, electrical beats.
One question plagues the audience throughout “The Dirt”: At what point in the movie is the audience supposed to accept sweet and baby-faced Douglas Booth as the hard-rocking, heroin-shooting, Jack-Daniels-bottle-smashing Nikki Sixx?
If Illinois-based emo group American Football’s debut album, “LP1,” was an introduction to the band and their second album, “LP2,” a reintroduction about 17 years later, its latest release, “LP3,” is the group’s reinvention.
It has been said that absence makes the heart grow fonder, which could explain the tendency to worship the comebacks of artists who have been off the radar for years.
Ubisoft’s “Tom Clancy’s The Division 2” regurgitates the cliche, fictional story of a crumbling society as the same crippling epidemic from the previous game in the series brings the United States to its knees.