Monthly Archives: March 2019

Singles 3/29

A solid top three emphasizing narrative, instrumental dexterity, and star power, respectively.

Click on links for full reviews.

Jenny Lewis – Wasted Youth (7)
Stella Donnelly – Tricks (7)
Lizzo ft. Missy Elliott – Tempo (7)
Dustin Lynch – Ridin’ Roads (6)
Schoolboy Q – Numb Numb Juice (4)
Andra – Supereroi (4)
Shura – BKLYNLDN (4)
Ravenna Golden ft. Dorian Electra – Open My Eyes (3)
G Flip – Drink Too Much (3)
Thomas Rhett – Look What God Gave Her (2)
YOUNGOHM – Thararat (2)
Bryce Vine ft. YG – La La Land (1)

Ranking Billboard top ten singles, 2000

A new decade dawned, when as Americans we were nearer to the final conquest of rock than ever before until ‘N Sync kicked the anthill, out of which swarmed 3 Doors Down and a band named Creed, led by a lead singer with a body ready for Jesus Christ poses and a head full of Hooters pickup lines. We thought we had triumphed over Eurodisco too until Sonique and Eiffel 65 turned me into a grinning idiot for six months. “Blue” is the magnificent and awful culmination of what Lou Bega, Aqua, the Vengaboys and the pop-trance contingent have been doing for a while: it couldn’t but be massive,” Tom Ewing noted in his review. But he adds, crucially: “Fortunately it’s also, behind the bluster, an oddly touching little record.” Indeed. Continue reading

Ranking David Lean

With a masterful eye for men interacting with their landscapes and one of the few directors to understand Dickens, David Lean assembled a body of work that vacillated from the intimate to the epic. In Lawrence of Arabia, he fused both tendencies: an epic about a beautiful enigma. I enjoy A Passage to India more than most viewers (deep reservations about Alec Guinness’ goon show Godbole noted) and The Bridge Over the River Kwai less. Continue reading

Agnès Varda — RIP

To regard the late Agnès Varda as a painter and writer enlarges our capacity to understand how good filmmakers capture a sense of molecules in constant motion. Think of Mary Cassatt, of her portraits of arrested movement in all their embarrassment and capacity to surprise. In Varda’s debut feature Cléo from 5 to 7, the audience’s sharing a secret with Corinne Marchand’s title character, a singer who will likely die of cancer, lends a poignancy to her adherence to routine. The accidental poetry of the found object. The person as found object. Varda didn’t transform her men and women into people worth studying; her approach insisted that men and women as they are were all worth studying. Continue reading