The Brown Note Movie Review

I don't even know who this man is.

The second solo album by Sonic Youth founder, Kim Gordon, is every bit as avant-garde, abrasive, scouring and brilliant as her first. Though this time around we get some of the best art-house rap beats as a sound-stage, you wish Danny Brown was a collaborator on one of the albums of the year.

Given Kieran Hebden (AKA Four Tet), one of the century's most esteemed electronic music artists, capped his already exemplary career, with a well earned day in the sun at Coachella last year, I've no idea who this highly dull, wallpaper backing music album is for, or why it was even made.

Artistic titan, Zack Snyder, gives the world what it's been waiting for - a sequel to the all concurring first installment and a return to the amazingly original and well developed universe he created. We watch in awe as the packed story develops in ways we could never have seen coming, such as nothing at all happening in the first hour - absolute madman! We are lucky to be alive in an era when he wants to make six of these, each with a four hour cut.

IT-girl of the moment, Sydney Sweeney, is either incredibly smart, incredibly lucky or has a great agent, as this Gallo/Nunsploitation horror throwback is exactly the film she should be a lead actress in right now. It aligns her with two of the other hottest and trendiest actresses out there - Mia Goth and Anya Taylor-Joy - who've also made a massive mark through horrors. Its a perfectly decent film, with a wildly transgressive final third and Sweeney shines without resorting to her big guns.

The live music festival is dying for a number of reasons, including the acts that are headlining, the now failing Coachella is both an embodiment of why and far far worse.

A retrospective of Tarantino's very different third film.

Amazingly, despite being a massive Shawshank fan, I had never seen The Green Mile before.

Arguably the most faultless three album opening run since Arcade Fire, hit a speed bump with the loss of Rostam, a core member and producer, resulting in the least well received album of their career, Father of the Bride and wonders whether the golden era was over. Only God is a dramatic return to form and will be an obvious contender for album of the year.

Two of the most prominent definers of modern commercial rap combine again, though this time for an album length project (already succeeded by a follow up) that is both a weak album and a crappy review as I was tormented by a wasp.

The venerable Uk indie-rock titans second comeback album, is sadly not as interesting as their first Anthems for Doomed Youth, but despite flirting perilously close with land-fill indie, has its more vital moments and it's still good to have them back.

Finally getting a wider release, debut director Andrew Cumming (who insanely uses a made up language on his first film) excels with a post cave-man horror, with an outstanding score and cinematography.

Director Matthew Vaughn seems to inhabit this middle ground between Guy Ritchie and Zack Snyder, for better or worse. As much of a fan of Bryce Dallas Howard and Sam Rockwell as I am (both excellent casting choices here) this post-Kingsmen spy caper, has all the hallmarks of Synder's over delivery and poor execution.

1. Beyoncé Is the most overrated recording artist this century, an average two bit hack put together in a laboratory and the blandest mass produced corporate product since the Big Mac 2. The only reason she recorded a modern pop country album, is her fragile, Princess Diana style ego, cannot handle Taylor Swift getting far more attention than she does

The underappreciated Shoe-gave titans third comeback album is by far the best. The most urgent, dynamic, cohesive, melodically memorable and impactful of their trio of post come-back releases and their best album since Going Blank Again.

Arguably the most important cultural artifact since the Rosetta Stone.

One of this years major Oscar contenders is, I'm sorry, a massive let down. Two very different parallel films, that don't work together, shoved into one. A handsomely produced and acted rich people family drama occupies 80% of the film and is ordinary and boring, whereas the far more more interesting satire side of the movie is totally undeveloped.

The only 100% true review of this movie online today.

The return of Schoolboy Q heralds back to an era of rap, that saw long form projects that were high art and not just gaming streaming charts, and his best work yet, one of the albums of the year.

The near excellent second album from the UK post-punk alumni is self aware to a fault.