Two years after taking a dreary look at Hollywood in “Lust For Life,” Lana Del Rey returns to her nostalgic roots with her sixth and latest record, “Norman F—— Rockwell!” The album cover features a painted blue sky and Del Rey with a male companion, reaching out to the camera, inviting the listener to join her.
On a dreary Sunday afternoon, approximately 3,400 brightly colored rubber ducks tumbled over Cascadilla Falls, racing to reach the end of their long journey along Cascadilla Creek.
“Her Smell,” an indie drama from writer and director Alex Ross Perry, is painfully slow in spite of the pure chaos it depicts.
Cage the Elephant’s “Social Cues,” the American rock band’s fifth studio album, might appeal to its veteran fans, whose die-hard attitude toward the group will keep them listening if only out of loyalty.
Seven men run around a deserted, pastel city, dressed to the nines in the brightest colored clothes they have.
“Missing Link” is a visually spectacular stop-motion film about friendship and finding one’s place in the world.
“Little” opens with obligatory narration — “Allow me to introduce myself” — but there is nobody going to see “Little” who won’t realize immediately where it’s headed.
Neil Marshall’s “Hellboy” (2019) has the aesthetic sensibility of a Hot Topic: It’s cheap, insincere and reminds you of other places you’d rather be and other films you’d rather see.
Four young women stand together firmly in front of hundreds of trumpets as brass blares in the background.
Cyndy Scheibe, professor in the Department of Psychology, said that when observing move-in day, it is always interesting for her to observe the relationships between parents and their kids.
Khalid’s new album, “Free Spirit,” is the record of the summer, made for wind-whipped midnight car rides, relaxing in bed on an easy Sunday afternoon with a cup of coffee or for a gloomy, rainy day with thunder rolling by.
“After” takes a problematic fanfiction and turns it into a frustrating and predictable movie.
