The first thought that enters one’s mind upon hearing Asher Roth’s first single, “I Love College,” is “one hit wonder.” Over a not-so-subtle replaying of Weezer’s “Say It Ain’t So,” Roth delivers a gimmicky, catchy, and extremely corny frat-boy ode to boozing, smoking and partying that lacks any sort of thought-provoking content.
Yet, it works. To an extent. Continue reading
I first saw Blade Runner (the director’s cut) when I was in high school, when DVDs were in their infancy and I was just starting to get into film. Being a fan of sci-fi, I had high hopes.
I hated it.
Now, almost ten years later, I gave it another shot. This time, the final cut (the movie exists in at least seven versions). Continue reading
Director Arthur Penn’s 1967 film Bonnie and Clyde is widely considered the jump-start of the New Hollywood Cinema movement, in which young directors introduced the world to a sometimes dark, cynical, violent and sexual style of American film-making that shocked the cinematic consciousness after decades of Hollywood studio spectacle and razzle-dazzle. Continue reading
Canadian rapper k-os doesn’t play by the rules. Hitting the hip-hop scene with 2002’s “Superstarr Pt. Zero” and his album Exit, he was praised for a back-to-basics hip-hop approach, incorporating breakbeats, live instrumentation, and introspective lyricism. Subsequent albums Joyful Rebellion and Atlantis: Hymns for Disco expanded k-os even further musically, widening the scope to include more singing, along with reggae, funk and indie rock influence.
On Yes!, k-os brings the focus closer back to hip-hop, although all the influences and styles he’s adapted are still readily audible. Continue reading
Damn you, Tony Almeida. I can’t say I didn’t see it coming (as far back as episode 8), but the end of tonight’s episode was one of the most shocking and painful scenes in 24 history. Continue reading
Adrian Ruhi 