Sorrel L. Nielsen
Outgoing music editor Sorrel L. Nielsen pits AFI against AFI.
One Direction channels Mumford & Sons in their new maudlin track "Story of My Life." Lady Gaga goes in a new direction of her own: straight up to outer space with her new single off ARTPOP, "Venus." And Avril Lavigne teams up with husband and Nickelback frontman Chad Kroeger on her new track "Let Me Go."
Denis Villeneuve weaves a tense thriller in his latest film, "Prisoners," which stars Hugh Jackman, Jake Gyllenhaal, and Paul Dano. While his directorial talent is clear in the first half of the film, the substantial promise and skillful storytelling falls apart by the conclusion of "Prisoners."
Henry Cavill is perfect in the role of Superman, and his charming performance carries the film. Zack Snyder's heavy-handed adaptation is otherwise poorly paced, ponderous, and plugged with poorly cast and fumbling supporting stars.
The real problem at the core of the movie seems to be restraint: Luhrmann has none. In fact, the film is packed so full of confetti and sex that there seems to be little room for one key element: the source text. This makes for an entertaining film, perhaps, but not for a successful adaptation of one of the great American novels.
Against all reason, Beam and his 11-piece band stay true to this newfound and problematic musical formula of “more is more” throughout the album. Troubling musical experimentation aside, the true disappointment of this album is the flatness of Beam’s lyrics.
The main stage at the American Repertory Theater was off balance when lights came up on “The Glass Menagerie.” The ...
Before Fall Out Boy saves its genre, two emotionally overwrought Arts writers debate which of the band's earlier albums reigns supreme.
Yoko Ogawa's newly translated story collection "Revenge" gambles descriptions of gore for that of kiwis and hand-shaped carrots and ultimately loses.
If that’s not hilarious, I don’t know(s) what is.
His songs have a unique style that can best described as manic—the lyrics are complex, profound, and nearly busting through the seams of the spare guitar chords that usually hold them together.
Although Director Scott Derrickson’s new work doesn’t awe, it offers enough shock and punch to keep watchers from giggling at the standard horror movie absurdities that it sometimes employs by necessity.
Last week’s cover focuses on the intersection of tattoo artists and their human canvases. Despite the cultural and aesthetic importance ...
The allure and the complication at the heart of the tattoo is this: the canvas talks back.
The Crimson brings together campus comics for a roundtable discussion of their craft.