The Brown Note Movie Review

The venerable Uk indie-rock titans second comeback album, is sadly not as interesting as their first Anthems for Doomed Youth, but despite flirting perilously close with land-fill indie, has its more vital moments and it's still good to have them back.

Finally getting a wider release, debut director Andrew Cumming (who insanely uses a made up language on his first film) excels with a post cave-man horror, with an outstanding score and cinematography.

Director Matthew Vaughn seems to inhabit this middle ground between Guy Ritchie and Zack Snyder, for better or worse. As much of a fan of Bryce Dallas Howard and Sam Rockwell as I am (both excellent casting choices here) this post-Kingsmen spy caper, has all the hallmarks of Synder's over delivery and poor execution.

1. Beyoncé Is the most overrated recording artist this century, an average two bit hack put together in a laboratory and the blandest mass produced corporate product since the Big Mac

2. The only reason she recorded a modern pop country album, is her fragile, Princess Diana style ego, cannot handle Taylor Swift getting far more attention than she does

The underappreciated Shoe-gave titans third comeback album is by far the best. The most urgent, dynamic, cohesive, melodically memorable and impactful of their trio of post come-back releases and their best album since Going Blank Again.

Arguably the most important cultural artifact since the Rosetta Stone.

One of this years major Oscar contenders is, I'm sorry, a massive let down. Two very different parallel films, that don't work together, shoved into one. A handsomely produced and acted rich people family drama occupies 80% of the film and is ordinary and boring, whereas the far more more interesting satire side of the movie is totally undeveloped.

The only 100% true review of this movie online today.

The return of Schoolboy Q heralds back to an era of rap, that saw long form projects that were high art and not just gaming streaming charts, and his best work yet, one of the albums of the year.

The near excellent second album from the UK post-punk alumni is self aware to a fault.