June 5th
Andy Cunningham (b. 1950) - Star Wars: Episode VI - Return of the Jedi
Rita Riggs (b. 1930) - All in the Family

June 7th
Earl Lestz - One Night in Hollywood
Thierry Zeno (b. 1950) - Wedding Trough

June 8th
Glenne Headly (b. 1955) - Don Jon
Sean Michael Rice (b. 1947) - LOVE, Inc.

June 9th
John Heyman (b. 1933) - D.A.R.Y.L.
Adam West (b. 1928) - Batman: The Movie

June 10th
Po-lin Chi (b. 1964) - Beyond Beauty: Taiwan from Above

June 11th
Doreen Andrew (b. 1923) - Whatever Love Means

Image credit: ​By photo by Alan Light, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=2530050

Wonder Woman takes the grittiness of past DC movies and adds empathy into the formula, creating a relatable story for the female hero.  Finally, DC has returned to good form with this installment in their cinematic universe.  The casting is near-perfect with Gal Gadot (Fast & Furious 6) in the leading role.  It is not very often that we see these kinds of powerful roles for actresses.  Fortunately, Gadot reminds us that there is plenty of room for these roles in cinema.  Chris Pine (Star Trek) is a nice addition as a supporting actor in the film.  The two main roles play off of each other in a charmingly romantic style.  Of course, there is a whole mix of other roles that also influence the characters and the plotline. 

While Wonder Woman excels because of it's great casting, it stands even taller because of the themes recurring in the story.  The struggle between human nature and free choice has always been a philosophical debate.  The storyline is deep and emotional because of it's relativity to audiences.  The writers take this debate and masterfully create a storyline around it.  Previous DC films have struggled to bring this impact to their viewers.  In the past, action has preceded the storyline.  Batman v. Superman and Suicide Squad had the potential for emotional impact, but got muddled down with their action sequences.

Although Wonder Woman is a step forward for the DC universe, there are still some issues for the franchise to hash out.  The last quarter of the film had some interesting action sequences, but felt too long.  The action has a few too many effects, seeming unrealistic.  I also saw the film for free in 3D, which in my opinion wouldn't have been worth the price.  The first act has some fun 3D effects, but nothing else stands out later in the film.  It is cool to watch at first, but eventually detracts from the ideals that the movie worked so hard to create.  Still if this is the new base level for DC films, I cannot wait for the future installments.  Patty Jenkins (Monster) brings hope to female filmmakers who want to helm big blockbusters.

The Bottom Line:  Wonder Woman is the best DC film since The Dark Knight Rises, bringing justice to female superheroes and the franchise that has left them out for too long.

Score: 8.6/10

Image credit: ​By Gage Skidmore - File:Gal Gadot 2014 Comic Con.jpg, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=40400532

Relaxer continues to deliver the ambient and electronic noises that alt-J gave audiences with their previous two albums.  Starting at a slow pace Relaxer starts of with a lounge-style of instrumentalization.  One of my problems with alt-J's previous works is the amount of time it takes for their music to hit a soothing melody.  Once again, the first track on their new album does not give a payoff until the very end.  That being said, Joe Newman's voice helps to give a bit of strength to "3WW" at the very end.  Luckily, the band picks up the pace with the second track on the album.

"In Cold Blood" is a great mix of vocals and looping with some nice beat drops here and there.  This is the first time I have felt intensity with the ever-so-often relaxed band.  Right after "In Cold Blood", the band creates an interesting cover of "House of the Rising Sun".  Their take on the classic hit is very quiet and lacks the rawness that The Animals gave their listeners.  There are some interesting acoustic instrumentals, but the song never takes off.  Oddly enough, the next hit on the track sounds more like The Animals than alt-J's cover of "House of the Rising Sun".  "Hit Me Like That Snare" has a vampirish tone.  It's like an Addams Family rendition of an old British song.  Plain-old weird and kind of creepy.

The next three tracks of the album are somewhat boring, with similar concepts that have already been tested by alt-J in their previous discography.  The ambience is dull with a few synthesized flourishes here and their.  Nothing needs to be discussed for these tracks because nothing is too interesting.  Fortunately, alt-J leaves listeners with a decent vibration in their ears.  "Pleader" includes classical instruments with sweet strings and woodwinds.  The track is a pleasurable finish, balancing between the creepier tone and delectable serenades. 

Score: 5/10

Favorite Tracks: "In Cold Blood", "Pleader"

Least Favorite Tracks: "House of the Rising Sun", "Deadcrush", "Adeline"

Image credit: ​By Darligulves - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=46194801

May 30th
Wendell Burton (b. 1947) - The Sterile Cuckoo
Robert Michael Morris (b. 1940) - Smiley Face
Molly Peters (b. 1942) - Thunderball
Dasari Narayana Rao (b. 1947) - Baahubali 2: The Conclusion
Elena Verdugo (b. 1925) - House of Frankenstein

May 31st
Joe Hyams (b. 1926) - Chariots of Fire
Tino Insana (b. 1948) - Barnyard
Lyn James (b. 1929) - The Young Doctors
Parvathamma Rajkumar (b. 1939) - Om

June 1st
Roy Barraclough (b. 1935) - Coronation Street
Jose Greci (b. 1941) - Hercules Against the Mongols
Sonja Sutter (b. 1931) - Frauenshicksale

June 2nd
Peter Sallis (b. 1921) - The Curse of the Were-Rabbit

June 3rd
Shivraj - Amar Akbar Anthony

June 4th
Washington Xisolo - Who Am I?
Roger Smith (b. 1932) - 77 Sunset Strip

Gone Now is a surprisingly superior album for Jack Antonoff's main band, following their successful debut album.  "Dream of Mickey Mantle" quickly brings us back to the world that Bleachers introduced us to with their first album.  Right off the bat, we get the pop perfection that intrigued us the first time around.  

Yet, this album is a deeper project for Antonoff.  Antonoff's childhood starts to reveal itself on the second track, "Goodmorning".  The track is relatively stripped down for Antonoff's creativity.  His voice is raw, with a slower beat as a bottom layer.  The vocals are at the forefront of the song even with his productive layerings.  It sounds like a pure confession of childhood innocence, ending with a baby crying out.

After the first two tracks, we make it to one of the singles that came out preceding the album release.  "Hate That You Know Me" is a lyrically thoughtful track, with moments of Antonoff yelling out in an emotional manner.  It gives us a real look into the troubled thoughts that go through a human's mind on a daily basis.  At the same time, it has the pop-influence of a Jackson 5 song with high vocals and funky beats.  Right after the funky track, we get the lead single on the album.  "Don't Take The Money" is reminiscent of hit tracks off of Strange Desire.  The open-air ambience of the instrumentals show off the success of the past hit, "I Wanna Get Better".  This is basically the perfected pop formula that Antonoff has started producing.  We even get a bit of Lorde's vocals towards the end of the track.  Don't zone out though because you might lose it in the ridiculous amount of layering on the track.

This album works so well because audiences feel a connection to Antonoff.  This becomes clear with "Everybody Lost Somebody".  Antonoff reminds us that struggles are a part of life.  His main struggle in life came when he lost his 13-year-old sister to brain cancer.  "Everybody Lost Somebody" is a straightforward tribute to her.  The lyrics are sad, but soothing instrumentals progress the song with a seemingly happy tone.  

The first miss for me on the album comes with "All My Heroes".  The track is inspirational, but has trouble taking off because of the tone that Antonoff leaves us with after "Everybody Lost Somebody".  After "All My Heroes", we return to Antonoff's creative mind in the following track, "Let's Get Married".  The track includes excerpts of Lena Dunham's voice, with a very simple message that constantly states "Let's Get Married."  It's a simple track that seems a little too direct, and out of place in the mix.  The next track, "Goodbye", is also oddly placed in the middle of the album.  It plays as a sendoff, but I'm not exactly sure where the track is supposed to lead us next.

After the three curveball songs, we return to the pop perfection with "I Miss Those Days".  It's almost as if Antonoff realized that he got a bit lost in the making of the album for a few songs.  The lyrics boldly state, "I know I was lost but I miss those days".  Just when we get lost in the music, Antonoff guides us back into his well-crafted world.  "Nothing Is U" acts as a breakdown moment that features piano and strings in the background.  The ballad is refreshing with a decent build-up into a grand orchestral finish.

The ballad takes us straight into the oddest track on the album, "I'm Ready To Move On/Mickey Mantle Reprise".  The instrumentals on the track almost sound like a space opera, meshing past voices with synthesized sounds.  It's as if ghosts are talking to us and reminding us of everything we just encountered on the album.  

Of course, Antonoff has to finish the album on a high note with "Foreign Girls".  The ghosts are interrupted by a high trumpet melody, eventually building to a multi-layered pop hit.  At times, it sounds like a choir is walking down the street and giving us direction towards the future of Bleachers.  The autotune is prevalent, but also effective as we go between a single voice and a multi-layered choir.  Overall, the last track is a nice ending to an adventure through Antonoff's past life.  Surely, Antonoff will no longer be a stranger to pop listeners.

Score: 8.5/10

Favorite Tracks: "Goodmorning", "Hate That You Know Me", "Don't Take The Money", "Everybody Lost Somebody", "I Miss Those Days", "Foreign Girls"

Least Favorite Tracks: "All My Heroes", "Let's Get Married", "Goodbye"

Image credit: ​By Justin Higuchi - https://www.flickr.com/photos/jus10h/14835976210/in/photostream/, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=34986765

Edgar Wright (Shaun of the Dead, Scott Pilgrim vs. The World) has never let me down with his superb filmmaking, which continues with this installment in his filmography.  After the conclusion of the Cornetto Trilogy, Wright was expected to direct Ant-Man.  However, Peyton Reed (Bring It On) got to helm the Marvel film leaving Wright time to work on an original film of his own.  Wright is clearly a perfectionist when it comes to film editing.  Similarly to his previous creations, Baby Driver flows seamlessly with constant transitions.  The film runs in high gear with fun action sequences comparable to The Fast and Furious franchise.  

One thing that this film can hold over The Fast and Furious is a sustainable plotline.  The story never grows stale because the characters are enjoyable and well-acted.  There is not a lot of cheesy dialogue, even though there are plenty of jokes throughout the film.  At times, I felt like the characters and settings were influenced by Pulp Fiction.  There is certainly a high amount of blood and gore, which might also have brought Tarantino's masterpiece into my mind.  The comedic dialogue plays off of the mature imagery, distracting the audience from the seriousness of violence.  Just when you start to feel grossed out by the film, the script reminds you that this is all fun and games.  

As with all of Edgar Wright's previous films, this one does not need to remind audiences of reality.  This is a film to enjoy because of how it was made, not because of the values it holds.  Sure there are some lessons that we can learn from the film (such as, don't mess with Kevin Spacey), but we never have to compare the film with our own lives.  For that, I thank Mr. Wright.  Sometimes, I like to sit back and look at the technical aspects of film creation.  Baby Driver shows us that we do not only need big franchises to have fun in theaters.

The only complaint that I can come up with for this film is the soundtrack.  For a film focused around music, I was hoping for more iconic music.  It is hard to release a film like this after audiences have familiarized themselves with Guardians of the Galaxy.  The soundtrack for Baby Driver is filled with fuel and fire tracks, but there is nothing that compares to the use of "Don't Stop Me Now" in Shaun of the Dead.  If Wright had given me a comparable track in this film, I would really be in love with this film!

The Bottom Line: Edgar Wright's first film after the completion of the Cornetto Trilogy is another sweet treat for audiences who enjoy high-octane entertainment!

Score: 9.3/10

Image credit: By Gage Skidmore, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=27437520

May 22nd
Marsh McCall (b. 1964) - Just Shoot Me!
Dina Merrill (b. 1923) - The Player

May 23rd
Kofi Bucknor (b. 1953) - Heritage Africa
Nicole Leblanc (b. 1941) - Audition
Sir Roger Moore (b. 1927) - The Spy Who Love Me

May 24th
Jared Martin (b. 1941) - Aenigma
Gil Portes (b. 1945) - The Kite

May 26th
Toni Bertorelli (b. 1949) - The Passion of the Christ

Image credit: ​By Allan warren - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=9589901

One week prior to the hyped release of the new Kendrick Lamar record, was Brooklyn rapper Joey Bada$$ and his sophomore studio album ALL-AMERIKKKAN BADA$$. While it may have been overshadowed soon after its release, it is by all means the stronger project.

Bada$$ progresses from the old-school hip-hop sound he established on his mixtape (1999) and first studio work (B4.DA.$$), turning towards conscious rap with some heavy pop appeal. Early fans of Joey might find his move from his patented aggressive flow as an artistic step back.  Initially, I did as well. But it’s clear that his new sound is a maturation and refinement of his previous work. Sure, he aims for the appeal of a wider audience on ALL-AMERIKKAN BADA$$, but he never sacrifices his lyrics or the music. It results in a focused project with a clear message. Sonically, the album is jazzy and uplifting, while remaining catchy. It perfectly complements what he has to say. It’s impressive to see the artistic maturity and evolution he is capable of at only 22 years old.

ALL-AMERIKKKAN BADA$$ contemplates on the state of black people in America, focusing on social wrongs and the possibilities of peace in the country. Joey preaches a positive message about awareness and a state of good we can reach. He may attempt to cover too many topics, ranging from racism, police brutality, the media, and the origins of these social ailments. It’s not exactly original, but he commits the entire album to this concept and comes off incredibly thoughtful. He does not try to solve any of these issues, nor should we expect that. It’s just one man’s thoughts that he wants off his chest. Joey is engaging through his passion and relays his message’s significance through his voice. The closing track “Amerikkkan Idol” encompasses the album’s plight, accumulating into a powerful final verse. The content is focused and is one of the most lyrically impressive moments in Joey’s career.

Joey Bada$$ also showcases his technical writing skills prominently in the tracks “Land of the Free”, “Y U Don’t Love Me? (Miss Amerikkka)”, and “Babylon”. “Land of the Free” touches on his ambition to influence and create a better future. The highlight of the track appears in its bridge, “Full house on my hands, the cards I was dealt/Three K's, two A's in AmeriKKKa/I'm just a black spade spawned out the nebula/And everything I do or say today that's worthwhile/Will for sure inspire actions in your first child.”

“Y U Don’t Love Me? (Miss Amerikkka)” is one of the more interesting cuts on the record. It is framed as a love song with America as the woman. Joey uses repetition throughout his verses and the chorus to emphasize all the wrongs America has done to himself and his people. “Why you treat me like I don’t matter?/Why you always kicking my ladder?/Why you never hearing my side to the story?/Never look me in my eyes, say sorry?” “Babylon” is one the few songs where Joey really explodes, letting his aggressive and violent flow take over. Each verse showcases the best of Bada$$, the lyrics and the delivery. However, this highlights one of the issues on ALL-AMERIKKKAN BADA$$. For most of the track listing Joey opts for a softer, higher-register flow. They are nice and fit the album’s theme, but do not play to his strengths. Joey Bada$$ differentiates himself as an emcee with his dark and raspy vocals. There are few who can match his passionate anger when he gets his voice low over a verse. (Example: “Christ Conscious” on B4.DA.$$). It would have been preferable if he brought this to the table a few more times on the album.

Musically, Joey Bada$$ assembled his catchiest and most refined set of hooks. One after another, “For My People”, “Temptatio”, “Land of the Free”, and “Devastated” all deliver excellent sounds. Joey also does a great job by carrying these choruses on his own. He sings over all four of those tracks, and it seems like he really made an effort to fine tune his voice. Definitely a welcome surprise to the record.

At about the halfway point of the album, we are finally given our first banger. “Rockabye Baby” hits hard. Heavy guitars and bass drive over a haunting piano loop for one of the most interesting instrumentals. Schoolboy Q appears as the first feature of the album and is fantastic. The next track, “Ring the Alarm”, keeps the intensity up. The piano loop paired with deep, pumping bass creates yet another strange instrumental. Meechy Darko of Flatbush Zombies is perfect over the hook.

The majority of the album has a jazzier feel with slick synths and soft drums. Both “For my People” and “Land of the Free” have a funky feel to their grooves, while “Temptation” brings on some horns and a guitar. “Babylon” is another instrumental highlight as Joey embraces his Jamaican roots with some easy sounding horns and keys. The song features reggae singer Chronixx and is another great guest performance on the project. The limited list of features including J. Cole on “Legendary”, Kirk Knight on “Ring the Alarm”, Meechy, ScHoolboy Q, and Chronixx all felt meaningful. Each was given a strong opportunity to shine with their talents. Despite all this there are some weaknesses in the music. Around the end of the record, “Super Predator”, “Legendary”, and “Amerikkkan Idol” seem to blend together instrumentally. There isn’t much differentiating them and it can begin to feel rather stale. It also does not help that the Styles P feature on “Super Predator” was underwhelming.

ALL-AMERIKKKAN BADA$$ is a focused and concise musical effort, featuring a solid concept and great performances across the board. Bada$$ makes noticeable improvements in both his sung hooks and song-writing. The project is aimed towards a wider pop appeal, delivering catchy rhythms and vibes without sacrificing its content and lyrics. Musically it does not fall into the common traps of pop-rap. With such a mature catalogue and noticeable progressions, it’s easy to forget Joey Bada$$ is just 22 and only on his second studio record.
 
Score: 8.5/10

Favorite Tracks: “For My People”, “Temptation”, “Land of the Free”, “Devastated”, “Rockabye Baby”, “Ring the Alarm”, “Babylon”, “Amerikkkan Idol”
​
Least Favorite Tracks: “Super Predator”

Image credit: ​By G. Carus (talk) 21:30, Oktober 2013 (UTC) - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=29109035

Every so often, you need to sit back and watch a classic comedy from the past.  Modern times are filled with bad news, indecent conflicts, and too much seriousness.  Mel Brooks (The Producers) reminds us of simpler times, when we could relax and not worry about who we offended.  This is a blessing and a curse for the acclaimed director.  I like the idea of his films, but a lot of the time they are too simple in their punchlines.  Throughout Blazing Saddles, Brooks relies on racial stereotypes and sexual content to make jokes.  ​Blazing Saddles is unique because of Brooks's direction, but grows stale after the same jokes continue to appear.

For me, it was hard to settle into the genre that Brooks has molded over time.  The first half hour of the film creates the western setting for the film.  We see a chain-gang working on a railroad in the middle of nowhere.  We see vast landscapes, saloons, and small-towns in the western setting of the properly-titled film.  However, the script shows us right away that this is not a typical western genre.  Offensive racial terms are dropped here and there, without any sign of remorse.  It's as if the offensive words were never outlawed by society.  After the first half hour, we finally get to see the redeeming trait of the film, the bromance between Gene Wilder (Willy Wonka & the Chocolate Factory) and Cleavon Little (Vanishing Point​).  Both of these actors carry the film forward, progressing a storyline that constantly changes.

The storyline remains interesting for the full runtime, because of how unpredictable it is.  Nothing really makes sense, but the plot is still linear.  It's as if Brooks had no idea of where he wanted to take the film.  From the very start, we are introduced to oddball characters that are not worth remembering because they only show up once or twice.  Rather than being a clear narrative, Blazing Saddles is an hour-and-a-half of improv filmmaking.  While it may not be for me, I do acknowledge that Brooks has defined his own genre throughout his career.

The Bottom Line: It is hard to relate with a comedy as obscure as this one, but the cast helps progress the story with likable and unlikable characters meshed together.

​Score: 5/10

Image credit: ​By Towpilot - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=1140646

May 8th
Curt Lowens (b. 1925) - Angels & Demons
Kenny Miller (b. 1931) - Blood Stalkers
Mary Tsoni (b. 1987) - Dogtooth
Frank Zieger (b. 1975) - Conviction

May 9th
Al Nalbandian (b. 1921) - James and the Giant Peach
Michael Parks (b. 1940) - Kill Bill

May 10th
Geoffrey Bayldon (b. 1924) - Catweazle
Emmanuele Bernheim (b. 1955) - Swimming Pool
Nelson Xavier (b. 1941) - Chico Xavier

May 11th
Roland Graf (b. 1934) - P.S.

May 13th
John Cygan (b. 1954) - Up
Manuel Pradal (b. 1964) - A Crime

May 14th
Powers Boothe (b. 1948) - Sin City
Brad Grey (b. 1957) - The Departed
Mandla Hlatshwayo (b. 1976) - Finding Lenny