After waiting for three years, Mumford & Sons fans can finally rejoice.  Alas, the folk-rockers are back with their most experimental and well-written work to date.  The album is full of heavy, but still folky hits that soar the listener straight into the wild nature that surrounds us.  The first track on the album, "42", builds up into a dramatic stadium rock song.  The videos of Marcus clashing on the snare drums in live performances makes the song even more intriguing.  

As if returning to form, the album's second track reminisces on the folk background that Mumford fans originally loved.  "Guiding Light" seems to be a mesh of the old and new style that the band's sound has evolved into.  Furthermore, the song is a beautifully written poem with a flow that never ceases to move forward.  The rhythm and ambient sounds play off of each other to progress the sound in wave motions.  Yet just as the album starts to take off, the listener settles into a subdued track, "Woman".  The flow still progresses, but the vocals are a bit more laid back.  Fans of Babel might argue that this is not the hard-hitting Mumford that they loved back in the day, but this song shows that the band has evolved.

For listeners that did not like Wilder Mind but enjoyed the first two Mumford albums, "Beloved" brings back the folk spirit of the band with a banjo at the forefront.  This is my favorite song on the album and it's hard to argue that the lyrics don't light up the darkest aspects of our lives.  In recent interviews, Marcus has claimed that this song is about him watching his grandmother die.  With such a deep lyrical background, it is near impossible to listen to this song in the same way.

"The Wild" leads into the most experimental portion of the album, based mostly around instrumentals.  The creation of this nearly 6 minute track shows the versatility of each band member.  The whole band contributes to the masterpiece just as they contribute vocal backings on the next track, "October Skies".  Clearly Marcus, Winston, Ben, and Ted are capable of working together to create music that they truly believe in.

While Marcus can clearly lead the band in vocals, everyone is a part of every track.  In "Slip Away", Marcus takes the lead but every instrument holds weight.  The listener would never guess that this album was recorded in a converted Church.  The songs are often so heavy that you can imagine stained glass windows shattering under the decibels.  The slowed-down riff at the end of "Slip Away" hits the listener's ears, forcing them deeper into the construction of the song.

The second half of the album takes it slow, but always keeps the ambiance heavy.  "Picture You" catches a snapshot of the rhyming schemes that Mumford is capable of using to create a warm space.  This track flows straight into the least Mumford-esque track that they have ever written.  "Darkness Visible" is a full instrumental rock showcase.  This sounds more like a Muse song than a Mumford & Sons song.  Personally, I love it and will continue to support the ever-changing sound.  This would be crazy to see live and I can imagine audiences going nuts as the sound builds and builds and builds.

One of the lead singles for the album follows the hard-hitting track.  "If I Say" brings in an orchestral arrangement to fill up the empty space surrounded by Marcus's isolated vocals.  The 61 minute long album ends with three beautiful pieces of music.  "Wild Heart" is a quieter ballad with lovely guitar backing to accompany Marcus's charming voice.  The soundscape opens up more and more as the piece gains momentum.  Finally, the band drops us off with the titular track, "Delta".  This track is seemingly a culmination of the entire work, with experimentation and folky sounds combined.

Score: 9.5/10

Favorite Tracks: "42", "Guiding Light", "Beloved", "Slip Away", "Picture You", "Darkness Visible", "Wild Heart"

Least Favorite Tracks: "Rose of Sharon", "Forever"

Image credit: ​By Stefan Schäfer, Lich - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=62977253

For those of you patiently waiting for a glimpse of Jake Gyllenhaal's Mysterio, I feel your pain.  With my bias towards the friendly neighborhood superhero, I need to see the trailer for Spider-Man: Far From Home and I need to see it asap.  In the midst of the wait, I was able to see an early screening of the new animated Spider-Man film.  Spider-Man: Into the Spider-Verse is one of the best movies that Marvel has released to date.  I truly believe that Stan Lee (Doctor Strange, Spider-Man: Homecoming, Guardians of the Galaxy Vol. 2, Avengers: Age of Ultron​) would be extremely proud of this film.  Combining diversity with animation and a stacked cast results in a new type of Marvel movie.  The story somewhat follows the same formula as previous Marvel films, but this is a new evolution for the powerhouse that is pushing out at least three movies a year.  

Sony Pictures Animation succeeds in a fresh style for the superhero that has been around forever.  Spider-Man was always my favorite Marvel superhero and this film keeps the character fresh.  The animation style is like nothing I've seen before, ranging from blurry vision to clear-cut characters.  The vibrancy of the colors kept my eyes glued to the screen at all times.  I have heard some complaints about the blurriness, but personally it makes for a beautiful big-screen experience.  Unfortunately, I only saw this on a regular screen and will need to see this again on either Dolby or in 3D to get even more out of the experience.

Spider-Man fans have been waiting for the debut of Miles Morales in the MCU, and we finally get a brilliant portrayal of this character.  Shameik Moore (Dope) contributes the voice for the new Spider-Man, but he is joined by many other characters that voice the hero.  Hailee Steinfeld (True Grit, The Edge of Seventeen, Ender's Game), Jake Johnson (Jurassic World, Safety Not Guaranteed), John Mulaney (Mulaney), Kimiko Glenn (Nerve), Nicholas Cage (Teen Titans Go! To the Movies), and Chris Pine (Star Trek, Wonder Woman) all voice different renditions of the superhero (unless I am missing someone, which is totally possible with the amount of characters).  This stacked cast could have slowed down the film, but rather the film proceeds smoothly so that children can remain entertained throughout the film.

Furthermore, the soundtrack is perfectly chosen for the hero's big-screen debut.  Post Malone's original song for the film is worthy of an Oscar-nod along with the original soundtrack that is crucial to the fluidity of action.  Pop culture references constantly pop onto the screen, creating a re-watchable animated film.  In fact, images of Chance the Rapper are on the screen so often that I wonder if he is making royalties off of the film.  Either way, there are some great Easter Eggs throughout the film for adults to enjoy.  No matter how often they pop up, it is exciting to see them.

The Bottom Line: With all of the live action Marvel films from the past to the present, it is a nice refreshment to see this unique animated take on one of the foundation characters for the MCU.

Score: 9/10

Image credit: ​By Gage Skidmore from Peoria, AZ, United States of America - Stan LeeUploaded by maybeMaybeMaybe, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=22896794

With the Barnes & Noble Criterion Collection sale ending today, I chose a movie from my Criterion collection to ponder last night night.  My Beautiful Laundrette is an aged film that seems ever-so-relevant to this day.  The film centers around a young Pakistani Briton named Omar (Gordon Warnecke) with ambitious plans to promote within the working world.  When greed, corruption, sexual tension, and racial inequality start to affect his lifestyle, he continues to work hard and tries to make a difference for the people surrounding him.  Omar opens a laundromat in order to continue rising in the working world, against the wishes of his father.  

For a film released in 1985, the message is quite progressive even in the modern world.  Gordon Warnecke (Venus, A Fatal Inversion, Boon) turns the main character from an innocent Pakistani young man into a hard-working money-oriented individual.  The character's identity is always shadowed by other characters, as Omar reaches out to his family and his white co-worker/boyfriend for advice along his journey.  Daniel Day-Lewis (There Will Be Blood, The Last of the Mohicans, Lincoln, Gangs of New York) plays the white boyfriend that causes a lot of the conflict surrounding Omar's life.  Day-Lewis hardly needs to talk in order to grab the audience's attention towards his character.  Johnny is a tough but also charming white Briton, raised around a rough group of friends.

Through clear direction, Stephen Frears's (Philomena, The Queen) early film portrays many powerful messages.  Hanif Kureishi's (Venus, My Son the Fanatic, Le Week-End) screenplay is simple, but includes many different aspects.  As a Pakistani in Britain, Omar is seen as a threat to Johnny's white friends.  The world is currently struggling with immigration policies, and this film displays some of the reasons why immigration is such a heated topic.  Furthermore, Omar and Johnny's relationship is a conflict for both of their friends/families.  The more the viewer looks into this film, the more conflicts arise throughout the short runtime.  While the score for this film is not the most powerful, it is interesting to note that Hans Zimmer (Gladiator, Inception, Dunkirk, Interstellar) composed the music.  The music fits into the film well, but I never would have guessed that Hans Zimmer created this subtle soundtrack.

The Bottom Line:  While My Beautiful Laundrette dates back to 1985, the topics discussed are still relevant to modern society's political struggles.  

Score: 8/10

Image credits:

By Nrbelex - Own work, CC BY-SA 2.5, https://commons.wikimedia.org/w/index.php?curid=8954299

By Towpilot - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=1289613

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Fresh off of her successful previous album, How Big, How Blue, How Beautiful, Florence Welch returns with another powerful album.  Starting off quietly, "June" eases us into the album with a slow buildup of strings and a background chorus.  The flow at the end of "June" leads us directly into the lead single from the album, "Hunger".  "Hunger" is sure to be a stadium hit with a catchy chorus as Florence's voice weaves through the intricate details of her hungers.  The song is straight-forward but also has a lot for listeners to interpret however they want to.

After "Hunger", the band brings us into a more unique portion of the album.  "South London Flower" starts off as a rambling poem for Welch, but the band backing her voice seamlessly turns the poem into music.  The drum beats mesh the rhythm of her voice with the rhythm of the string instrumentals.  The light poem drops us off on an extremely dark track.  "Big God" creeps up on the listener, with isolated vocals from Welch.  Accompanying the song, there is a music video with dark symbolism relating to witchcraft.  Definitely check out the video to try and understand what the song is trying to say.  "Sky Full of Song" brings us back to Florence's lighter poetry.  The lyrics progress onward as she discusses her relationship to music.  The ballad is beautiful and has a simplistic form to keep our ears happy.

"Grace" continues to bring out the emotional impact on the album.  Florence's vocals are delicate and are often used to create a sad atmosphere.  "Grace" is a quiet display of the utility of her vocals, playing off of a jazzy piano melody.  After "Grace", "Patricia" takes us back to the roots of Florence + The Machine.  It blends the soul and pop that the band has used as their signature sound.  The song unfortunately sounds extremely light for the powerful messages on the new album.  "100 Years" returns to Welch's apologetic songwriting that is heard throughout the earlier tracks.  The syncopated rhythms and clapping sounds are interesting and fun to try and snap along to. 

To close the album, the intensity of Welch's isolated vocals return.  "The End Of Love" is a spiritual ballad, "washing away" the lead singer's past.  Her voice floats along the track with grace and strength.  "No Choir" finishes the album with a final sign-off from Welch, who loses herself in her own lyrics.  It is a peaceful close to an intensely faithful album.  

Overall, High As Hope reveals Florence's flaws.  Often, she is either confessing or apologizing on the tracks.  This creates a strong message for almost every track on the album.  This causes the tracks that are not confessions to hold less weight, but the lead singles still overpower the lighter fluff.

Score: 7/10
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Favorite Tracks: "Hunger", "Big God", "Sky Full Of Song", "The End Of Love"

Least Favorite Tracks: "Patricia"

Image credit: ​By Jason Persse - Flickr: Florence and the Machine, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=19348724

Mulan will remain as one of Disney's best films for a long time.  Personally, the film is categorically within my top three Disney films.  After 20 years, the animation and effects are still clean and superb.  The music never gets old and the story about a girl saving China to bring honor to her family and nation still remains relevant.  There are a lot of broad themes throughout the film that make the viewing a learning lesson, and yet the storyline is extremely entertaining to watch.  There is action for kids to maintain their attention span, but also moral values to keep Mulan as a tool for adults to teach from.

The cast clearly put in effort during the voice acting sessions, bringing out strong characters and whimsical scripts to accompany them.  Miguel Ferrer (Traffic) is terrifying as the lead villain, Shan-Yu.  Yet, Eddie Murphy (Coming to America, Shrek) as Mushu is hilariously exaggerated.  At the center of the story is of Mulan, voiced by the charming-but-tough Ming-Na Wen (Street Fighter).  The list of voice actors go on-and-on as the film is densely packed with characters to support Mulan's journey.  While the voice actors are important, the directors chose to use different actors for the singing portions which are crucial to Disney's cinematic formula.

Mulan has the most recognizable soundtrack out of every Disney film with hits including "Reflection", "I'll Make a Man Out of You", and "A Girl Worth Fighting For".  Donny Osmond's (Joseph and the Amazing Technicolor Dreamcoat) voice provides the overly-masculine Shang tracks.  Lea Salonga (Aladdin) provides a powerful counter to Osmond's Shang.  One of the themes portrayed through the music is the role of gender in modern society.  For a 1998 film, Mulan was progressive and remains progressive the more we learn about Hollywood's scandals.  I look forward to the live-action remake that is set to release in 2020, but I hope that they can keep the messages from the original film and modernize them even more.

The Bottom Line:  Mulan gives audiences the hero it needs and questions gender roles in a way that adults and children can both understand clearly.

Score: 9.8/10

Image credit: ​By Gkaidan - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=67121492

For a film revolving around a game that most of us have not played since we were ten years old, Tag is enjoyable and funny.  Walking into this film I expected another lame comedy, but Tag surprised me.  The film is not for the easily offended or squeamish, considering many of it's jokes are over-the-top and sexual.  In fact, a family walked out of my theater within the first thirty minutes, but they should have expected the humor given the film's R-rating.

Director Jeff Tomsic (I'm Having a Difficult Time Killing My Parents) uses a cast that is well-trained in the comedy genre to portray this story based on true events.  Ed Helms (The Hangover), Jon Hamm (The Town, Baby Driver), Jake Johnson (Jurassic World, Safety Not Guaranteed), Hannibal Buress (Neighbors, Spider-Man: Homecoming), Isla Fisher (Wedding Crashers), and Jeremy Renner (The Town, The Avengers, Wind River) bring some ironically shallow characters to the big screen.  The story does not require much flash and pomp from the cast, but all of the actors are great at bringing their average lives out.  Supporting actors also make for exciting circumstances throughout the movie.  From the childhood crush portrayed by Rashida Jones (The Social Network) to the one-track minded gym employee portrayed by Thomas Middleditch (The Wolf of Wall Street, The Kings of Summer​), the smaller roles help to progress the storyline.

Unlike during many new comedies, I found myself chuckling throughout Tag.  The fact that Tomsic was able to make an interesting film based on the simple premise is surprising, but certainly shows storytelling talent.  I certainly don't think that there is any further progression for this story, so hopefully there won't be any sequels for this one.  One of the reasons why this film was so enjoyable was the fact that it brings out the inner child in the viewer.  As the characters constantly discuss, "We don't stop playing because we grow old; We grow old because we stop playing" (George Bernard Shaw).  This is a great message to back up the comedy.

The Bottom Line:  Viewers can happily return to their childhood as they watch old friends reunite for their annual tag competition.

Score: 7/10

Over a decade later, Brad Bird (Ratatouille, The Iron Giant​) picks up the story of the Parr family right where he left it in 2004.  Once again, the Parr's are back in action as they balance their family life with fighting crime.  Incredibles 2 spends more time on the family life than the original film, bringing out a relatable experience for moviegoers.  Sarah Vowell (A.C.O.D) and Huck Milner create the voices of Violet Parr and Dashiell Parr as they both go through the struggles of growing up.  These characters are sassy, but also clever.  At times they act smarter than their elders, which is reflective of real life families in many cases.  The youthfulness of this film shines the brightest with the "innocent" baby, Jack-Jack.  Jack-Jack is a fun character to watch and he makes us question whether or not superpowers are dangerous or not. 

The relationship between Bob Parr and Helen Parr has a lot of interesting development in this sequel as well.  Their roles from the first film are nearly flipped around entirely.  Bob acts as the stay-at-home dad while Helen fights crime to protect her family.  Craig T. Nelson (The Family Stone) and Holly Hunter (The Big Sick) return to voice these characters respectively.  Once again, they are well-spoken and perfect fits for the characters.  As the story unfolds, Bob and Helen make the audience question stereotypical family roles.  Certainly, there can be enriched discussion after the film about these roles and their place in modern society.

For the most part, I really loved this sequel.  However, the original story still stands taller than this new installment.  The villain in Incredibles 2 is not nearly as strong of a character as Buddy from The Incredibles.  The effects are improved, but storyline is more important to me than visuals.  If this installment had stayed more focused on the Parr's family dynamic throughout the whole film, then it might have held more weight than the addition of Screenslaver.  Screenslaver is a decent villain, but does not introduce anything new to the superhero filmography.  Updated effects make for smooth animated action sequences, although Screenslaver is nothing special.  

The Bottom Line: Incredibles 2 is a fantastic watch because of the Parr family, but falls short with the crime-fighting subject.

Score: 8/10

Fresh off of his starring role in Kinky Boots on Broadway, Brendon Urie is back with a new album for his Panic! At The Disco fans.  The album starts off like Death of a Bachelor with a strong noise of heavy instrumentals and shiny lead vocals with "(Fuck A) Silver Lining".  Then Urie takes a slightly darker turn with the lead single, "Say Amen (Saturday Night)".  The vocal layers are intense and the brass shines bright.  Clearly, the album is meant to be a good time for listeners.  Urie sounds proud of his fame and it looks like nothing can take him down from here.  On the third track he boldly exclaims, "Hey look ma, I made it"!

After the first three tracks fly by, the emotions build up in "High Hopes".  The use of string instruments throughout the verses on this track bring us empathy while the loud brass chorus is a fun listen.  The track is definitely a hit for party seekers and Panic fans.  Right after this climax on the album, the band takes us into a more unique track.  "Roaring 20s" plays off of Urie's Vegas-style vocals, putting him at the forefront of the jazzy instrumentals.

The second half of the album brings out a familiar sound for Panic! At The Disco.  Subdued vocals and a dizzying breakdown in "One Of The Drunks" make the listener feel as if they are the subject matter of the song.  As if a wake-up call for the previous song, "The Overpass" is an intensely layered track with another string-heavy bridge.  Both of these tracks use instrumentals to create atmospheres described in the lyrics.

To get us out of the overpass soundscape, "King Of The Clouds" quickly rambles its way into the chorus.  Urie is almost rapping at this point to keep the listeners onboard.  "Old Fashioned" is also on the edge of the hip-hop genre, but a grounded chorus remind us that this is just a more theatrical pop song than we are used to.  The choir accompanying Urie at the end of the track might've been an influence from his Broadway experience. 

After a mere thirty minutes of music, the album finishes with a piano ballad.  The lead singer is isolated and his voice shimmers with the keys.  "Dying In LA" is a reflection on the past and diversifies itself from the rest of the album.  The soundscape vastly expands as the track finishes with beautiful string instrumentals, refreshing our ears after another greatly entertaining Panic! At The Disco album.    

Score: 8.5/10

Favorite Tracks: "Say Amen (Saturday Night)", "High Hopes", "Roaring 20s", "Old Fashioned", "Dying In LA"

Least Favorite Tracks: "(Fuck A) Silver Lining", "Dancing's Not A Crime"  

Image credit: ​By Adam Riggall from Jersey City, NJ, USA - Brendon Urie of Panic! at the Disco, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=2986007

I don't recall ever seeing an episode of Mister Rogers' Neighborhood as a child, but after watching this documentary I feel more inspired by the host.  At this time in America, this film is extremely relevant to society.  The documentary delves into Fred Rogers's life and what drove him to create a space where he could teach children about philosophical subject matter.  Director Morgan Neville (Best of Enemies: Buckly vs. Vidal, 20 Feet from Stardom, The Music of Strangers) paves the path of exploration for viewers to journey into the life and philosophies of Fred Rogers.

The film is interesting and brings up subjects that are still tough to understand today.  Neville brings out the best in Rogers and makes the audience wonder if he truly could have been the image that Neville paints him in.  The film covers most of Rogers's life, but pinpoints certain episodes of Mister Rogers' Neighborhood to create a satisfying documentary.  At certain points, we get to see how Rogers tackled topics like love, death, and even the Space Shuttle Challenger explosion.  

Enlightening interviews also create a more detailed journey through Rogers's life.  These interviews range from his children, to his wife, to acclaimed cellist Yo-Yo Ma.  Rogers seems to have developed many close relationships throughout his life and Neville brings out the best in these relationships through personal interviews.  Not only is this documentary built with personality, but it is inspiring throughout its heartfelt moments.

The Bottom Line: Morgan Neville creates an inspiring and thoughtful portrait of an American hero exactly when theater audiences need to see it.

Score: 8/10

In honor of Liam Neeson's (Schindler's List, The A-Team) birthday yesterday, I decided to watch his most recent film.  From director, Jaume Collet-Sera (The Shallows, Unknown, Orphan, House of Wax), comes another thriller starring Neeson in a lead role.  Collet-Sera's past collaborations with Neeson have been fun to watch and well-made.  Unfortunately, The Commuter falls short of the previous collaborations.  While the cinematography and filming techniques are exciting, the storyline drags down the film and often reduces the weight of the superbly acted roles.  

Of course, Neeson brings gravitas to his role.  Ever since the release of Taken, Neeson has become an amazingly realistic hero for the common people.  From saving his daughter to saving a whole airplane full of passengers, Neeson has perfected the role of action hero.  Once again, his acting stands out in The Commuter and he is surrounded by other good performances.  Vera Farmiga (Up in the Air, The Departed), Patrick Wilson (The Phantom of the Opera), Jonathan Banks (Mudbound, Gremlins), and Sam Neill (Hunt for the Wilderpeople, Jurassic Park​) round out the cast.  Every character is unique and important to the story as it progresses.

While the acting performances are good, the writing for the film struggles to create an impact for viewers.  At first, I was entranced with the plot as it started to unravel.  However, after the first half of the film there are major plot holes that open up.  We never get any sort of background for the main character because development is sacrificed for more action at the end of the film.  We are thrown into a situation without much meaning behind the actions that occur.  This leads to a final act that is merely disorganized and lackluster.  There are certain lines in the final act that are extremely cliche of past action thrillers.  The film becomes more of a cheesy blockbuster and less of an impactful story by the end of the screening.

The Bottom Line:  The Commuter tends to sacrifice a meaningful and organized plotline for more action towards the end of the film.  Liam Neeson once again acts the part, but the story holds very little weight for his character.

Score: 5.5/10

Image credit: ​By Karen Seto / ???? from Toronto, Canada - Toronto, Ontario, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=5108817