Bleachers – Gone Now . From the moment “I Wanna Get Better”, the first single off Bleachers’ debut record, Strange Desire, dropped in 2. F Feelings, and extremely synthy, saccharine production. But there should be no inherent shame in obvious and emotional music, and Bleachers’ best songs, like “I Wanna Get Better”, feel like an IV pumping vibes of “I understand and I’ve been there and you’re going to be okay” right into the bloodstream. On Gone Now, the follow- up to Strange Desire, Antonoff dives even further into his impulses and desires, and the end product is much more ostentatious and much less cohesive than his best work. Let’s start with the good.

Ben Kenigsberg makes his predictions for the 2017 Cannes awards.

Single “Don’t Take the Money” is exactly what you come to Bleachers for: romantic pleading, noble desperation, and pure unabashed effusion. The song knows what it’s doing and does it well, with pounding synths and swooning ’8. It’s too much — of course, it’s too much — but that’s why it’s so great. With Bleachers, Antonoff strives to honor and emulate heroes like Peter Gabriel, Billy Joel, and fellow Jersey boy Bruce Springsteen, and he often goes overboard on epic drama at the expense of the actual music.

Take “Goodmorning” for example, where he tries to evoke the feeling of being a good boy in real America to the tune of a jaunty piano and some curious, echoey call- and- response oh- ohs. It’s more than a little too Sesame Street, and lines that strive to be poignantly specific fall flat: “I lied to your face in the summer/ I had my hair short then.”There are essentially two themes on Gone Now: nostalgia and love. Other people’s love always looks a little empty, a little too simple from the outside, so you can hardly find fault with Antonoff for being bold enough to follow the song of his heart on tracks like the exuberant wish- fulfillment anthem “Let’s Get Married” and “All My Heroes”, which sees Antonoff taking several pages from U2’s book. The results, however, laden as they often are with unsubtle production choices like super bouncy horns, elaborate synth marathons, and background choirs, often end up cloying. Even if I don’t personally like many of the choices Antonoff makes on Gone Now, I can at least understand most of them and appreciate what they’re trying to do.

As hard as I try, though, I can’t fathom why he included the track “Goodbye”. It’s a revisiting of “Goodmorning”, but he changes the lyrics to “goodbye” and remakes the song as a tepid ’9. Lena Dunham sleepily and intimately discussing her personal memories and emotional struggles.

But the visual beauty of. Norman (Norman: The Moderate Rise and Tragic Fall of a New York Fixer). Disney previewed their upcoming live-action features during this year's D23 Expo. News, Sports, Weather, Traffic and the Best Of Cleveland. Into the Night (1985):Ed Okin's life is somewhat out of control. He can't sleep, his wife betrays him and his job is dull. One night he starts to drive through Los. Watch all of this week's new film trailers, including new looks at Darkest Hour, Goon: Last of the Enforcers, Lemon, Kuso, and more. Plus, get a quick update on the. Online shopping from a great selection at Released in the Last 30 Days Store.

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Throughout Gone Now he’s so over- the- top serious in his earnestness that a moment like that registers as a different, more potent type of seriousness, like when your forgiving sweetheart of a boyfriend actually has had enough. That “I hate it” gives you a sense of where Antonoff, and this record, could have gone if he’d been willing to follow that ugly, striking anger further, like Ethan Hawke busting out his “sweaty- toothed madman” poetry at Robin Williams’ urging in Dead Poet’s Society. Instead, on Gone Now, we get cheap, sugary sax and blockbuster movie climaxes and revelations like a hand- clapping “everybody’s lost somebody,” which don’t feel much like real revelations at all. Antonoff is incredibly talented: he’s written and produced for pop’s best (Lorde, Sia, Carly Rae Jepsen, Grimes), and Gone Now makes it clear that he knows his way around a chorus — he often jumps right into them at the start of songs — but verses are strained and general while impulses are too often freely indulged, rather than examined and pulled apart in the hopes of building something that looks more like innovation than imitation. Antonoff’s feelings are valid — and they’re often relatable — and his big, open heart is in the right place, but Gone Now shows that without external voices and perspectives to temper and mold them, those feelings just don’t make for great music.

Essential Tracks: “Don’t Take the Money”.

Film Junk Podcast - Film Junk. The Film Junk Podcast is one of the longest running and highest- rated movie podcasts on the web. It’s a weekly hour- long (usually much longer) audio program that you can download in MP3 format and listen to on your computer, i. Pod or portable media player of choice.

Hosted by Sean, Jay and Frank (with occasional appearances from Reed Farrington), the show features funny entertainment news, heated movie reviews, and always a little bit of the unexpected. In 2. 00. 8 and 2. Podcast Awards, and in 2. Canadian Weblog Awards!

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