James Mercer and the Shins had it good. Their surprisingly deep first album, Oh, Inverted World, took off in the wake of Zach Braff’s decision to include two of its strongest songs on the soundtrack to Garden State. Their sophomore release, Chutes Too Narrow, was a worthy successor, eliminating most of their psychedelia in favor of more traditional pop. With their newest release, Wincing the Night Away, however, the Shins are merely ‘good’, and stacked up against their first two albums, it just isn’t enough.
By Justin Hunter Scott January 25, 2007
Apocalypto, Mel Gibson’s latest film, comes at perhaps the most tumultuous, contentious moment of his career. You wouldn’t know it from the movie’s posters and advertisements, though, where it is prominently referred to as “Mel Gibson’s Apocalypto.”
By Justin Hunter Scott December 7, 2006
If you’ve seen either of Darren Aronofsky’s first two movies—1999’s Pi and 2001’s Requiem for a Dream—you should take everything you thought you knew about the man and throw it out the window. The Fountain bears little resemblance to either of those films and is ultimately much better than either of them.
By Justin Hunter Scott November 16, 2006
It is difficult to write a review, in the conventional sense of the word, of Joanna Newsom’s sophomore release, Ys, because it’s unlike any other record you’ll hear this year, this decade, or perhaps even your life. At least until Ms. Newsom releases her third album, that is.
By Justin Hunter Scott November 9, 2006
Displaying a strong use of texture and restraint, Beach House is one of the most impressive debuts of the year.
By Justin Hunter Scott October 19, 2006
The more I listen to this album, the more confused I get: Beat Your Ass is actually listenable, wildly eclectic and surprisingly good.
By Justin Hunter Scott and Chris Norton September 7, 2006