The story of Stax records has long been smoothed over and sculpted into a neat bundle of Southern aphorism and marketing copy: The Memphis home of “Soul Man” and Shaft and the Staple Singers was the more authentic (insert adjective like “gritty” or “greasy” or “Southern-fried” here), counterpart to the pop-oriented Motown; a rare space of multiracial utopia in a segregated Sixties South; a locus, for Blacks in Memphis at the time, for the expressions and dreams of a better American future that lost its way in 1968 when those dreams...
- 6/22/2023
- by Jonathan Bernstein
- Rollingstone.com
Ariana Grande is a woman of her word, dropping her new album just six months after her last one—and Thank U, Next turns out to be her best album yet. Sweetener was full of potential hits; the old-school model would have been to milk it for a couple of years, tour it to death, then start the cycle all over again. Instead, Grande went back in the studio while her energy was raging and banged out another album in two weeks. This is her Amnesiac to Sweetener’s Kid A.
- 2/12/2019
- by Rob Sheffield
- Rollingstone.com
Ariana Grande’s Thank U, Next album is all but guaranteed to debut at Number One. When it does, it will be another in a long string of commercial slam-dunks for Grande.
More surprising, the album’s success also represents a return to the charts for ‘NSync and Wendy Rene. That’s because “Break Up With Your Girlfriend, I’m Bored” interpolates a verse from ‘NSync’s jittery “It Makes Me Ill,” while “Fake Smile” borrows from Rene’s “After Laughter (Comes Tears),” a Sixties soul record that has been...
More surprising, the album’s success also represents a return to the charts for ‘NSync and Wendy Rene. That’s because “Break Up With Your Girlfriend, I’m Bored” interpolates a verse from ‘NSync’s jittery “It Makes Me Ill,” while “Fake Smile” borrows from Rene’s “After Laughter (Comes Tears),” a Sixties soul record that has been...
- 2/8/2019
- by Elias Leight
- Rollingstone.com
A 13-year-old finds salvation in skateboarding in the trailer for Jonah Hill’s directorial debut, Mid90s. The film is set to open October 19th.
Hill wrote and directed Mid90s. The movie centers around Stevie, a teenager growing up in Los Angeles during the Nineties, who befriends a group of skateboarders one summer to escape a difficult home life. The clip features plenty of exuberant skate rat nonsense as Stevie and his friends outrun the cops, cruise down busy boulevards and leap over roof gaps.
But the Mid90s...
Hill wrote and directed Mid90s. The movie centers around Stevie, a teenager growing up in Los Angeles during the Nineties, who befriends a group of skateboarders one summer to escape a difficult home life. The clip features plenty of exuberant skate rat nonsense as Stevie and his friends outrun the cops, cruise down busy boulevards and leap over roof gaps.
But the Mid90s...
- 7/24/2018
- by Jon Blistein
- Rollingstone.com
‘Nymphomaniac’ Star Stacy Martin Leads U.S. Trailer for ‘The Lady in the Car with Glasses and a Gun’
After leaving a big impression in both volumes of Lars von Trier‘s Nymphomaniac, we were hoping to soon see more from up-and-comer Stacy Martin. Before Brady Corbet’s The Childhood of a Leader and Ben Wheatley’s High Rise hit theaters, we’ll see her in The Lady in the Car with Glasses and a Gun, a ’70s-influenced thriller with more than a bit of style to spare. (That period influence isn’t only aesthetic: this film is the second adaptation of Sébastien Japrisot’s novel, which was previously brought to the screen in 1970.)
The true lead, however, is Freya Mavor, as will be showcased in this preview — and that’s also the most this preview will tell you. It’s almost exclusively a collection of stylish, “propulsive” shots — set to the antiquated sounds of Wendy Rene’s “After Laughter (Comes Tears)” — which one of the only available reviews confirms is a key component.
The true lead, however, is Freya Mavor, as will be showcased in this preview — and that’s also the most this preview will tell you. It’s almost exclusively a collection of stylish, “propulsive” shots — set to the antiquated sounds of Wendy Rene’s “After Laughter (Comes Tears)” — which one of the only available reviews confirms is a key component.
- 11/11/2015
- by Nick Newman
- The Film Stage
Set to Wendy Rene's 1960 song "After Laughter (Comes Tears)," the new trailer features Freya Mavor, playing a gorgeous secretary, driving around in a stolen car, but things go from stylish and sexy to brutally dark and thrilling in this French-Belgian production. "The Lady in the Car With Glasses and a Gun" centers on Dany Doremus (Mavor) as she drives her boss's car to a town where everyone seems to know her, although she claims she's never been in the town before. Matters become worse when she discovers a body in her trunk. The trailer is a stunning peek at the noir thriller, which looks to be both stylish and gritty. Director Joann Sfar returns to the screen with his third film and third adaptation; his two previous films "Gainsbourg: A Heroic Life" and "The Rabbi's Cat" were based on his own comics. Sfar takes a dabble at another adaptation...
- 11/11/2015
- by J. Carlos Menjivar
- Indiewire
Music is used sparingly in Felix and Meira, and each song is key to expressing unspoken emotion. After Shulem (Luzer Twersky) leaves his modest home in Montreal's Hasidic enclave to attend prayers, his wife, Meira (Hadas Yaron), puts on a forbidden record, "After Laughter (Comes Tears)," letting Wendy Rene's plaintive voice convey her own longing. But it's Leonard Cohen's "Famous Blue Raincoat" that captures the exquisite melancholy of Maxime Giroux's romantic drama, where loss and resignation are as important as desire and freedom. When a dissatisfied Meira meets the aimless Felix (Martin Dubreuil), they have little in common aside from a love of drawing and a religion they view quite differently. (His version of...
- 4/15/2015
- Village Voice
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