We close out the year and this season of The Pick with what may be a harbinger of what to expect in 2021: Wonder Woman 1984. The first of Warner Bros’ slate of new releases (plus or minus Legendary Entertainment) to be made available immediately on HBO Max, is this the beginning of the end for movie theaters? Or is it merely the start of another weird year? Plus, why do so many people already hate Wonder Woman 1984 so passionately? What if it’s actually kinda good? Is Chris Pine too hot for anyone else in the movie to be credited as “handsome man”? If you want to find out, you’re just going to have to listen. Your lasso of truth has no effect on me!
Well, I hope anyone reading this had as nice a holidays as anyone can have under the circumstances. This week we’re doing double duty (despite the fact that we should probably be taking it easy) by reviewing both Paddington and Paddington 2. We all thought these might be holiday movies going into them, though they’re more just winter movies about family and togetherness. This perhaps makes them good movies to watch in the days preceding Christmas, so why not take a peek at these delightfully British films just as we did? Continue reading
Speaking of more traditional indie rock, here’s an artist acutely aware of how to turn indie’s status quo on its head. Yet at the same time, Bartees Strange also seems just as aware of the power of a rip-roaring rock song, as most clearly demonstrated by “Mustang”, easily one of my favorite songs of the year. Much like Phoebe Bridgers’ “Kyoto” from earlier this year, it’s the kind of song that brought me back to a simpler time (like, say 2010) when an indie artist could have a crossover hit. I’m sure I would have been pretty pumped for just an album full of songs like this, but I’m just as intrigued by all the different genre-bending detours on Live Forever. Continue reading
Most of the albums I’ve been giving shout-outs to or will end up on my Top 10 have received a decent amount of national attention, but for today’s review, here’s a more local favorite. Not that Deep Sea Diver doesn’t deserve to be a little more nationally known, but it’s hard to say I would have heard of them if it wasn’t for Seattle indie station KEXP championing this Seattle-based artist. Also, it’s a little hard to call anything from the Emerald City “local” at this point, since the pandemic has caused this year to be the longest period I’ve spent away from the Pacific Northwest. But listening to the always-reliable KEXP online has been a nice way of staying connected to the region, which for all its changes in the past 10 years can still churn out great indie rock from time to time. Continue reading
Due to the recent passing of Sean Connery, this week we’re talking about The Rock, one of his more ridiculous (and more entertaining) movies. We ponder whether this is Michael Bay’s best film as well as all of the director’s various trademarks that are usually obnoxious and bad, but actually work pretty well here. We also pay tribute to the film’s perfect scene involving the song “Rocket Man” as well as a surprising detour into some of the past and recent winners of MTV Movie Awards. Continue reading
It’s hard to say why exactly I was compelled to check out the latest Killers album, other than the fact that it was the first time I’d heard music critics have anything enthusiastic to say about a Killers album in god knows when. I don’t think I’ve listened to a single Killers album since 2006’s Sam’s Town, though I feel like John’s up-and-down relationship with the band being documented on this blog has kept me in the loop enough. Still, they are a band (much like The Strokes) that have only had their legacy solidify in recent years, as “Mr. Brightside” feels like about as ubiquitous of a millennial anthem as you could find. So maybe — to use the verbal bombast of a Killers song — it was time for a reckoning. Continue reading
I kept waiting around for a great R&B album to come out this year, and it never really quite happened. Though, it’s not a genre I keep that strict of tabs on, so maybe there was something I missed that I’ll be grooving to in a year or two. But even if that is the case, I’m guessing I’ll probably be looking forward to future releases by KeiyaA in a year or two, since this homespun debut is certainly something striking. I’m not sure if it quite fits the bill of what I was looking for in a great modern R&B album this year, but considering how its unusualness kept me constantly coming back for more, it’s not far off. Continue reading