Chris Lilley’s “Angry Boys,” the 2011 Australian comedy that made its American debut on HBO earlier this year, is not the show many fans of Lilley’s previous program, “Summer Heights High,” expected or wanted.
As in “Summer Heights High” Lilley plays a wide range of characters in “Angry Boys”: teenage twins (one of whom is deaf), a washed-up surfing prodigy, a matronly female guard at a juvenile detention center, the Asian mother of a professional skateboarder, and a young black rapper under house arrest. Read More →
With last year’s Guider, Chicago’s Disappears started out making a punchy EP and wound up with a spiraling, roomy full-length LP on their hands. By expanding the closing track “Revisiting” to a full side’s worth of chug and pulse, the band lifted 2011’s Guider beyond garage-psych hallmarks. They tipped their hand, revealing a seemingly infinite combination of winning cards.
The greatest yet! — or what the iPad 3 will be when Apple unveils it on March 7.
You Will Believe a Man Can Turn into a Skeleton Who Also Rides a Motorcycle and is on Fire in “Ghost Rider: Spirit of Vengeance”
It doesn’t take much to make the Marvel Comics antihero named Ghost Rider look ridiculous: he is, after all, a skeleton (on fire) wearing a leather jacket (not on fire) who rides a motorcycle (kind of on fire).
The architects of the character’s resurgence in print during the 1990s—particularly writer Howard Mackie and artists Javier Saltares and Mark Texeira—tailored their version of the tormented demonic motorcyclist to play to his visual strengths. The character was always in motion, rarely chatty and oftentimes only materialized on half the pages of his own comic book. Of course, the character’s unexpected popularity resulted in Too Much Of A Good Thing, and Ghost Rider found himself awkwardly loitering around with an assembly of horror-themed characters (lumped together in a “Midnight Sons” branding initiative) and talking at length about a backstory that grew more convoluted with each inevitable spin-off title. I was recently re-reading a 1990′s “Fantastic Four” story arc in which Ghost Rider, Wolverine, The Hulk, and Spider-Man take over for the team, and artist Arthur Adams frequently (and somewhat mischievously) draws Ghost Rider with a puzzled and even sad expression on his face. It’s as if he’s asking the editors at Marvel: “Seriously? A Fantastic Four comic?”
The range unfolds immediately beneath a purple, mountain-less sky; the wild cadence of hoofs, the thunder and crunch, the wind parting the mane of one of God’s most beautiful creatures.
Crazy Horse’s Billy Talbot, Ralph Molina and Frank “Poncho” Sampedro still kick up their fair share of dust, wind and grit. Joined with the thunderhead guitars of Canadian singer-songwriter Neil Young, theirs are kicks both elemental and electric with all the racket and revelation of a natural disaster.
Deceptively simple, and with a major part purely American noise, the Horse returned from pasture on January’s “Horse Back.”
If “Rampart,” the new film from Oren Moverman, was a song, you would swear that you’d heard it before.
You might even be able to sing along: a police officer gets involved in the wrong end of his business, abuses the law he’s sworn to uphold and protect and deals with unsavory people. And then his pockets are empty and he needs cash so he goes deeper into the fray: he abuses drugs, has sex with everyone, he destroys his professional life and pushes loved ones away with his self-destruction. And then he goes right to the edge.