Even for those who didn't live through them, the '60s are very much a part of the American consciousness, and protest and political activism still pervade as ideals of active citizenship.
As a new film, "Let Me In" is perfectly serviceable art−horror fare, putting a new, chilling spin on the national vampire craze. But as an unnecessary remake of a two−year−old, genre−bending critical darling, it deserves to be left out.
Neil Young's new album, "Le Noise," is a medley of confusion, angst and more self−aware lyrics than his listeners have heard from him in years.
Kevin Barnes is back, and he's up to his same old tricks. Thirty seconds into "False Priest," it's obvious that you're listening to an Of Montreal album. The quick pop hooks, the tight harmonies and the driving electric beats all signal another well−crafted album in the same vein as 2008's "Skeletal Lamping." In fact, listen to any Of Montreal album since "Satanic Panic in the Attic" (2004) and you will find something very similar to their latest set. However, the consistency of the product does nothing at all to detract from the quality that shines throughout this album.
Nick Wauters, the creator, writer and co−executive producer of NBC's new series "The Event," seems painfully unaware that he is not, in fact, J. J. Abrams.
HBO's "Bored to Death" returned Sunday night for the start of its sophomore season of pseudo−noir and hijinks. The comedy, created by the writer Jonathan Ames, is about a writer named Jonathan Ames (Jason Schwartzman) who moonlights as an unlicensed private detective in his spare time.
Every morning millions of people log on to Facebook to check messages from their friends, create events, "like" Chad Ochocinco or simply ogle pictures of the pretty girl in their math class.
After last week's incredibly full slate of television premieres (including 17 new shows and over 30 returning ones), this week was a little less crowded, but still very eventful.
In the first two seasons of "Fringe," the show owed its distinctive charm to its harmonious balance between the utterly bizarre and the universally appealing. Everyday detective work and high−adrenaline shootouts fused brilliantly with graphic, nightmarish sci−fi images, coaxing sincere creativity from two hackneyed genres.
October's Latino Heritage Month events will kick off next week and center on the arts, offering students the opportunity to celebrate and learn about Latino culture.
On Sept. 23, "Sesame Street" announced that it would not run Katy Perry and Elmo's "Hot N Cold" duet because one of the celebrated figures — guess which — was baring a bit too much cleavage. And you thought Oscar the Grouch was trashy! In light of Perry's blunder, we've compiled a list of people who should be kept off the Street at all costs.
Not everyone can be a vocal athlete. For singers who strain to get their range to a certain octave, embracing sincerity is the next−best alternative.
J.J. Abrams's production company, Bad Robot, has spawned some of the best television of the past decade — "Felicity" (1998−2002), "Alias" (2001−2006), "Lost" (2004−2010) and, while it has had rough spots, "Fringe." Bad Robot's latest television venture, "Undercovers," eschews Abrams's original touch and basically remakes "Mr. and Mrs. Smith" (2005) in serial form with a questionable degree of success.
As we all know, college life is not without its occasional embarrassments — whether it's slipping on a patch of ice in front of your peers, participating in the Naked Quad Run, drinking too much and accidentally saying or doing something stupid (and typically overtly sexual), or getting locked out of your dorm room in nothing but a towel. Being under minimal adult supervision leaves plenty of opportunities for funny−yet−mortifying moments.
Stella Adler once said, "The theatre is a spiritual and social X−ray of its time," referencing the art form's ability to effectively tap into a zeitgeist. This is certainly the case with Tectonic Theater Project's "The Laramie Residency," a double−whammy production of "The Laramie Project" and "The Laramie Project: Ten Years Later," now playing at the Cutler Majestic Theater in Boston.
She tosses her head back in laughter as he holds her hands in his. The playful wind picks up the corners of her Dior coat and they glide through the Parisian square. Their bodies pull toward each other and then arch away. He balances on one foot with careless ease, with all the grace of Fred Astaire on roller skates.
I run the risk of echoing the sentiments of my disillusioned elders, but kids these days are saying some outrageous stuff! It makes me sick. Some guy named Sea Low is singing a song with the f−word in the title! Whodathunk?
Sometimes bad movies happen to good people. Unfortunately for the terrific cast of "You Again," "sometimes" is right now.
The Huntington Theatre Company's production of William Inge's "Bus Stop" is undeniably charming, bringing an idyllic winter scene from the Midwest to the Boston stage.
"If you want to make something that lasts, you gotta make it with your own two hands," Jon Voight's character, oil tycoon Clint Thatcher, says in the pilot episode of the new Fox series "Lone Star." While that logic may work in the show's world, fiction unfortunately does not always mirror reality.
