The Dose - 3/23/17

THE AWARD-WINNING POP CULTURE MAGAZINE FROM

BEST OF SXSW p.4 ‘MORE LIFE’ DRAKE REVIEW p.7 VANESSA CARLTON EXCLUSIVE INTERVIEW p.8

Photo by Kyle Martin

THE DOSE | PAGE 2

Here’s to music, movies and opportunities

By Morgan Sullivan South By Southwest is a beast unlike any other. It’s not just a music festival. Austin becomes a hub of brilliant technology creators and users and the forefront of the newest films, along with showcasing some of the most talented musicians. It’s a two-week long marathon of constant ebb and f low.

SXSW is where ideas come to fruition, where films make it or break it and where musicians can begin their rise. Many artists who play the festival blow up within the year, which may or may not have something to do with the festival itself.

Part of what makes SXSW so interesting is its overwhelming amount of unofficial shenanigans.

There’s always a little bit of a fear you’ll miss something, but a

gnawing knowledge that you can’t do everything. With over 2,000 showcasing acts, nearly 200 films screened and over 1,300 interactive speaker sessions in 2016, feeling overwhelmed comes with the territory.

This year, things got even more interesting as badge holders gained more access than ever before. Most events were open to badge holders for secondary access, meaning a music badge could get you into film events or interactive events. This caused a bit of overload, especially for bigger events. It can be a bit frustrating when you can’t get into a show you have primary access for, but that’s also what gives SXSW its charm.

Being able to see world premieres of films in a theater with less than 2,000 other people is a unique opportunity. Seeing artists such as

Weezer and the Wu Tang Clan in intimate venues is an opportunity not afforded to many. Lines may plague SXSW, but that won’t change. Part of the charm and the experience of it all is knowing that you’re taking part in an intimate, unique experience. That’s difficult to balance with a festival of this size.

However, it’s not just official events that attendees have to worry about. SXSW is also notorious for its abundance of unofficial music showcases. This year was a little different, though. Some of the biggest showcases weren’t put on, such as Spotify House. Fader Fort, who hosted a secret show featuring Drake last year, downsized.

However, there was still enough party to go around.

For those who are uninterested or unable to secure a SXSW

Courtesy wristband or badge, most artists do unofficial showcases in addition to their festival shows. Everything is a little bigger in Texas, and that’s apparent at SXSW. It’s a treasure hunt to find the best unofficial showcases, but that’s what makes it so fun.

SXSW, it was a good one. Here’s to too much walking and all of the parties with free food and drinks.

These are some of our favorite highlights from the festival.

@sadsquadch

‘Free Fire’ is 90 minutes of trigger-happy fun

By Preston Mitchell Produced by Martin Scorsese, “Free Fire” is rollicking action fun that throws great actors together for a nonstop gunfight in one setting.

While it sounds like a pitch that could spread itself thin, director Ben Wheatley (“High-Rise,” “Kill List”) milks the premise for every last second and serves up inventive action with sides of hilarious insanity.

Set in 1978 Boston, the fun

begins with an arms deal between two Irish gunmen, the levelheaded Chris (Cillian Murphy) and belligerent Frank (Michael Smiley), and the South American arms dealers Vernon (Sharlto Copley) and Martin (Babou Ceesay), who own a bevy of rif les and dueling mod outfits. Even cooler than Chris is his intermediary Justine (Brie Larson), who’s practically comparable to Ord (Armie Hammer), a bearded frontman for the arms dealers.

Armie Hammer, Brie Larson, Cillian Murphy, Sam Riley and Michael Smiley star in A24’s “Free Fire.” Cour tesy | SXSW

Aside from the usual banter we expect from criminals, the volatile tension is tipped over the iceberg once a feud between infantrymen Harry (Jack Reynor) and Stevo (Sam Riley) returns, denting the night and ultimately starting the feature-length shootout.

If Sam Peckinpah ever got the chance to reimagine “Reservoir Dogs,” this might be it. A seamless mix of suspense and dark comedy, “Free Fire” blends familiar tropes from ‘70s British crime movies into a modern action extravaganza.

From Copley’s f lamboyant crime boss, to Hammer’s figurehead smoking between bullets, to Larson’s deadpan fatale, each archetype is slightly tweaked to make their ridiculous situation incredibly funny.

Co-written by Wheatley, his effort avoids repetition by offering plenty of great one-liners and repartee among the leads. Much like Quentin Tarantino’s work, the action in “Free Fire” is either brutally unsettling or so gonzo that it’s fantastic. Wheatley is wise in how he plays around with cathartic sequences of violence and being just plain shocking, which both lead

to some of the funniest moments in the film.

To say that every cast member brings their A-game is a no-brainer at this point. The biggest names are either fan favorites (Murphy), actors in Oscar favorites (Larson and Hammer) or people you might not recognize, but have been in movies you love (Smiley).

But if anyone deserves his props, it’s Jack Reynor. After playing the creepy old boyfriend in the visual assault of “Transformers: Age of Extinction,” Reynor was a solid Malcolm in an otherwise mediocre adaptation of “Macbeth,” and even better as the charming stoner brother in the wonderful musical “Sing Street.” Here, he steals the show as a trigger-happy John Denver fan with a chip on his shoulder, which is just as awesome as it sounds.

Best of all, Wheatley never cheats the premise by leaving the setting at any point. What you read in the synopsis is what the film stays true to, which is impressive considering how it’s a period film. Since there’s no cell phone or advanced weaponry to function anachronistically, his film consistently (and successfully)

Martin Scorsese Courtesy | Wikimedia Commons fuels tension without ever cheapening it.

Simply put, “Free Fire” is a lot of fun and one of the more entertaining efforts in A24’s oeuvre. Quickly establishing itself as a quality movie distributor, they’re one of my favorites right now and “Free Fire” is another reason for my enthusiasm. This great action comedy is worth checking out when it’s released.

@prestomitch

NTDAILY.COM | PAGE 3

New Politics steals the show at SXSW

By Morgan Sullivan If there was a single band I’d want to see live until I die, it would be New Politics. The band has a tough slot opening for Weezer on tour every night, and SXSW crowds aren’t always kind to opening bands.

It was pretty obvious that most of the 900 people packed into Brazos Hall for the Weezer show hadn’t heard of New Politics. However, it didn’t take the band very long to persuade the audience to jump along to their infectious beats.

The best part about New Politics is that they’re not only musically good, but they’re one of the most fun bands you’ll ever see live. The band has an energy unlike any other, and their music is one that you can’t help but at least nod your head along to.

The show felt much more intimate than many other times I’ve seen the band. There was a tangible energy in the air — a kind of electric jolt

New Politics Band in OKC November 2010. Cour tesy | Wikimedia Commons that you can’t ignore. Although the most of the crowd wasn’t singing along, they were into it, and that was enough for singer David Boyd.

Boyd is one of the most fun components of a New Politics show.

The stage at Brazos Hall was a little small for his usual moves, but that

was no problem. At one point of the set, he had the crowd holding him up while he sang. An interesting moment happened as a female fan also emerged, and the two held hands above the crowd. Boyd is also known for his incredible breakdancing. Since the stage space was small, he asked the crowd to step aside and make a space for him to dance on the f loor.

The band played obvious favorites, opening with Everywhere I Go (Kings & Queens) and then continuing with Tonight You’re Perfect. They also covered the Beastie Boys, which was definitely a great move. It was one of the loudest moments of the night, with the crowd very comfortable hearing a song they knew.

A crowd favorite was Yeah Yeah Yeah, which is a song comprised of very few lyrics other than “yeah, yeah, yeah” which makes it quite a fast learn for crowds anywhere.

It seems that when crowds know

at least one word to sing along to, they’re much happier and engaging.

The band also debuted One of Us live, which had some traction with the crowd. The song was a cutesy tune about being inclusive and how everyone needs a place to call their own. The message of unity and friendship resonated well with liberal Austin. In introducing it, Boyd didn’t call out President Donald Trump directly, but it was made fairly obvious that the message was focused on people who make others feel alienated.

Harlem ended the band’s set, with a triumphant and energetic bang. It was very obvious that by the end of the set, those who didn’t know New Politics already walked away thoroughly impressed. Part of the task of an opener is to hype up the crowd for the headliner. That task was absolutely accomplished,

@sadsquadch

‘Porto’ is heartbreaking fare from the late Anton Yelchin

By Preston Mitchell Heavily inf luenced by French New Wave auteurs François Truffaut and JeanLuc Godard, it’s too easy to call “Porto” a stylish swag song for the late Anton Yelchin. A wonderful young actor who used his blockbuster clout to improve his talent through indies, this film is more proof that another decade could’ve solidified Yelchin as one of the greats.

While it’s certainly a solid showcase for him, “Porto” is much more than a career footnote. So many indies aim to capture retro Euro chic and end up being all sizzle without any steak. However, “Porto” stands out by using its vintage trappings to address the spectacular wonders, complexities and heartbreaking realities that come with loving another human being.

Yelchin stars as Jake, whose slouchy, pale and balding appearance belies his mid20s. Through his face and subtle emotional nuances, Jake says everything without saying much of anything. This comes into play upon meeting Mati (Lucie Lucas), a French woman also stationed in Porto with her own internal conf licts. Once they meet and come alive with one another, their romance becomes the centerpiece of a multilingual mystery dealing with their eventual separation.

In his feature film debut, director Gabe Klinger comes out swinging and asks you to trust his experimentation in a way that’s not too dissimilar from “Moonlight.” He presents this romance nonlinearly, where changes in aspect ratio and differing layers of grain, pops and scratches tribute the New Wave and act as tools for us to make sense of the timeline.

Story wise, the conceit forces the eye to see the deeper themes surrounding Jake and Mati. It helps that Klinger and cinematographer Wyatt Garfield – who worked cameras on “Beasts of the Southern Wild” – understand the importance of minimal dialogue and gorgeous vistas.

Bearing in mind that the film was originally scheduled to be shot in Athens before its 2014 liquidity crisis, Garfield takes full delight in transforming Porto into an alluring city where the dirt and cracks are as equally beautiful as the architecture itself.

Most importantly, such a devotion to setting and storytelling makes these factors the proper springboard for the characters’ bleak pasts and impractical ambitions – even if some of those ambitions only lasted one night. Anton Yelchin and Lucie Lucas do fantastic jobs of portraying Jake and Mati’s passion and juvenility, with Yelchin’s skinny demeanor and haunting eyes being

Lucie Lucas and Anton Yelchin are the stars of “Por to.” Cour tesy | Double Play Films. the perfect gateways into feeling Jake’s happiness, compassion and anguish.

Complete with confident direction, rich themes and in Klinger’s words, Yelchin’s “expressionistic” performance, you can’t miss “Porto” if you dig the actor, the genre or indies in general. A really good piece of melancholic romance that’s just as meticulous as the way we describe our

biggest crushes, this is a strong first film for Klinger and a strong posthumous display of talent gone too soon.

Anton would’ve been proud.

@prestomitch

THE DOSE | PAGE 4

SXSW ‘17 roundup: the best of

By Morgan Sullivan

There are thousands of bands to see at SXSW, and it’s impossible to see them all. Whether you plan it all out, or let the night take you where it wants, you’re going to end up seeing some incredible bands.

Here are six bands that really impressed me over the past week: Temples brought a set that was unlike any other. The band looks like something straight out of a vintage magazine with wide legged pants and fringed hair. They have a crisp, experimental pop sound without being too generic. If the Beatles were still around today, they’d probably sound a lot like Temples. The band has the kind of sound that pulls you in and encapsulates you in a dreamy, fizzy world. There wasn’t much interaction between the band and the audience, but Temples has the kind of vibe that doesn’t need talking between to keep the set lively. Aesthetically and musically, Temples had one of the most put

together sets of the week.

When she was being announced, the crowd was told that once Kate Nash hit the stage, they would feel hideously underdressed. That statement was absolutely true. The British rocker came out in a sparkly, shimmery skirt. The matching jacket, which she immediately took off, revealed a black gauze top with pink pom poms adorning the shoulders and chest. That kind of confidence radiated through her performance, as the singer strutted around the stage. She had crisp vocals, even while jumping and dancing all over the stage. Her set was one of the most energetic and exciting of the week, with her pop hits making everyone in the room bounce a little.

Hippo Campus is another band that fits perfectly on the SXSW lineup. The band is no stranger to Austin either, as they played SXSW in 2014. The Minnesota natives served up

melodic guitar-driven pop that sounds like something out of a dream. Everything was light and made you want to bounce around.

What’s perhaps most impressive is the band’s age. In a festival where bands that have been around since the ‘90s, Hippo Campus sticks out as a young favorite. The band plays with an air of genuine joy and a sense of humility that’s hard to find in many acts their age. What stuck out most was singer Jake Luppen’s utter command of his own voice. It takes most vocalists a long time to be comfortable with all ends of their range, but Luppen navigates his own voice with ease.

Del Paxton played in an intimate space at Cheer Up Charlie’s, but the size of the room didn’t keep the band from putting out their best. The band took their name from the jazz pianist in the movie That Thing You Do!, so they already had a spot in my heart.

The band, hailing from New York, brought a little punk to the indie-

focused SXSW lineup. It can be difficult playing in small bars, but Del Paxton wasn’t fazed. All the set was missing was a bit of crowd surfing, but all can be forgiven while playing a space that was barely big enough for 100 people to squeeze into.

Naked Giants was the band that impressed me the most at SXSW. The band played a handful of sets during the week, including a set before the 20th anniversary screening of the film Hype!, which centered on the grunge scene in Seattle in the ‘90s. Although it was a bit odd seeing a band play in the lobby of a theater, surrounded by posters advertising upcoming children’s shows.

However, the band made the most of an awkward situation and filled the room with more sound and energy than anyone could’ve expected. The Seattle band has a unique combination of retro, ‘70s sounding vocals juxtaposed against true punk grunge. Often,

a three-piece band isn’t enough to create a full, round sound, but Naked Giants leave nothing to be desired. The band has an immensely impressive grasp on their musicality. The sheer level of skill needed to play grunge that actually sounds like a melody and not noise isn’t as easy as one would think. Throughout their performance, I was absolutely impressed by every member of the band. Grant Mullen’s vocals are just the right mix of wild and totally controlled that give him the heir of a rockstar with decades of experience. In addition, Mullen’s guitar solos left reverb, fuzz and admiration in my heart. In an era when guitar solos are few and far to come by, Naked Giants still knows how to get down. Drummer Henry LaVallee puts his entire self into shows, thrashing himself around at moments yet playing with absolute precise. Grunge is dependent on a great backbeat, and LaVallee offers more than the minimum. The band’s show wouldn’t be the same without bassist Gianni Aiello’s smooth moves. His basslines are unique and add to the fuzzy f lavor of it all.

The band is still up-and-coming, with only around 8,000 monthly Spotify listeners, but I expect that won’t last long. It’s been a long time since a grunge band truly impressed me, but Naked Giants left me wanting more.

Post Animal posted about a show at the Love Goat only hours before, and the band drew a crowd of 30 or so into the little bar. The band was glad to be out of the chilly Chicago for a little bit. Some of the band’s draw is Joe Keery, who plays Steve on Netf lix’s tv show, Stranger Things. However, Keery didn’t make the trek with the band. That didn’t keep people from showing up for the experimental psych band. Their sound is much cleaner live than it is recorded, but it’s pretty difficult to recreate such a fuzzy sound in person. The band was still impressive, nonetheless.

They have a unique sound that fit in well with the festival, yet they had a pretty small draw. It’s a shame the band is still pretty unknown, but with their SXSW debut and Keery’s popularity, it’s

@sadsquadtch Cour tesy | Wikimedia Commons - Bruce Baker

NTDAILY.COM | PAGE 5

Weezer brings the heat at SXSW

By Morgan Sullivan The chants began early in the evening, hours before Weezer would grace the stage. That didn’t stop the crowd from a little premature celebration, however.

When you think of SXSW, Weezer isn’t exactly the first band that comes to mind. The festival typically hosts more indie artists, although it has progressed to include a lot of hip hop and rappers in recent years. However, a rock group as legendary as Weezer isn’t one you’d expect to see on the bill. It’s a funny little juxtaposition to put such an iconic rock band in a city known for hipsters, but nevertheless, Weezer persisted.

For their age, the band puts on an incredible show. They’ve been together since 1992, making it an incredible feat that they’re even around anymore. Their self-titled first album dropped in 1994 and the band has been on a roll ever since.

The second the band hit the stage, the entire atmosphere of the room changed. It was evident that the crowd was there for them. Suddenly, 900 docile people became the complete opposite, scream-singing and head-banging along.

The band started off strong with their hit, Hash Pipe. In a time where

it’s hard to stay relevant for more than a few months, let alone over 25 years, one thing remains true: people love a good song about drugs.

It was evident that the song was a crowd favorite, and it kicked off an incredible set.

The band rolled along through

Pork and Beans, (If You’re Wondering If I Want You To) I Want You To, You Gave Your Love to Me Softly and Perfect Situation, giving the crowd a

good mix and a build-up to one of the best moments of the night.

Of course, it wouldn’t be a Weezer show without Beverly Hills. As soon as those first notes started, there was a noticeable change in the crowd. Even if you don’t know it’s by them, you know the words.

It’s such an inclusive feeling when the entire crowd around you is singing along to the same words you are. With a song that was so influential to the 2000’s, it’s a crazy feeling to see that same song played live.

Of course, the band also played their other hits, like Say It Ain’t So, Island in the Sun and Buddy Holly.

The last half of the set was definitely more entertaining and full of energy than the first, solely because that’s when all of the most popular songs were placed.

In general, the band still has it.

Whatever the “it” factor is, they’ve still got it. Although they may not be the most energetic or crazy onstage, musically the band is fantastic. It takes quite a bit of luck, but mostly talent and skill to last as long as Weezer has. They’ve definitely got quite a few more years left.

@sadsquadch

Rivers Cuomo. Cour tesy | Wikimedia Commons

Lane 1974: The heart-wrenching face of great cinematography

By Adalberto Toledo From the start of Lane 1974, you can feel just how much Lane will lose as the movie goes along. An air of unbridled free-will in the beginning is smashed by the various life-changing events Lane must go through as she becomes a woman. It’s jam-packed with so much angst, fear, and sadness that it will propel you back to your own puberty and adolescence.

The setting is simple.

It’s 1974 and 13-year-old Lane (Sophia Mitri Schloss) lives with his younger brother and sister on a commune with her mother

in Northern California.

But something’s wrong, and Lane’s mother, Karen (Katherine Moennig), feels the commune has allowed too much of everyday society into it. In the beginning of the movie, she sits, bong in hand, and complains about the rules of the community, likening it to the Gestapo.

Meanwhile, nothing could be greater than Lane’s life. She lives on a beautiful commune amidst the landscape of piney Northern California. She spends her time with the other children from the commune playing games in the woods, living modestly

and growing up. And suddenly she has to leave it all, get on a bus and drive toward her new life.

Slowly through the movie she begins to lose every thing she held dear.

And with a troubled and nasty mother by her side the whole way, her life is made more and more difficult.

You can feel she is trapped.

Trapped in a never-ending cycle of verbal abuse from her mother and her desire to be a normal girl, Lane has her whole life in front of her. And it’s terrif ying.

Lane 1974 really captures every thing about adolescence that you don’t want to remember. The

pain of leaving friends, the frustration and guilt instilled by your parents, and the deep desire to grow up. The whole movie, Lane faces completely foreign situations and deeply scarring moments that as a child she should not see in order to propel her into adulthood without any safeguards.

But the majority of the film is captivating through its cinematography.

Its long, wide-angle shots at the beginning when showing Lane’s life among the tall Sequoias of northern California are juxtaposed by the quick and anxious feeling of the

whole movie.

Although it’s not a movie that will put you at the edge of your seat, like Lane, you will feel the constant anxiety she feels when her mother is around. Decisions are made suddenly and without warning to anyone.

This anxiety is something everyone can relate with. In one particular scene, the anxiety is best represented, with a quick cut to a decision so strong it shows you for the first time the gravity of Lane’s helplessness.

Visually stunning with a script that will make you hate who you’re supposed to hate and love who you’re supposed to love,

S.J. Chiro’s Lane 1974 is a coming-of-age story like no other. But by far Sophia’s eyes are what say it all. Her masterful ability to evoke such deep emotion and sympathy is a perfect foil to Katherine’s character of Karen. It’s evocative, painful and beautiful. And if you want to return to the feelings you had as a 13-year-old or 16-yearold, you have to watch this movie.

@aldot29

THE DOSE | PAGE 6

Hanson MMMbop performs throwback at SXSW music

By Morgan Sullivan For those of us who grew up in

tensions

Most of the set was okay, but the

were eased and everyone let loose to

started

playing,

two highlights of the set were Penny

enjoy the show.

and Me and MMMbop. However,

the 2000’s, Hanson is a household

Perhaps I was too young to

the band made a huge blunder by

name. It was nearly impossible to go through a week without hearing

remember most of the band’s songs, because even though I remember

playing their biggest hit before the last song. If your goal is to keep

MMMbop somewhere.

listening to them religiously as a

your audience captive and engaged,

The show was packed from front

kid, I couldn’t recall most of the

you’ve got to keep them waiting for

to back with 30-year-old women, wanting to relive their glory days

songs the band played. This was a problem for most of the younger

that moment.

The second MMMbop was over

when boy bands were all the rage and Snapchat wasn’t a thing. It was a cutthroat environment, unlike many of the more relaxed shows of the week. If the crowd moved an inch, people made sure to claim every bit of space they could. If you were brave enough to venture out for drinks or to go to the bathroom, you were faced with difficult people and icy stares to get anywhere near your original place. This is understandable, considering most of the crowd had waited over 10 years to see the trio.

attendees, it seemed. The problem with being a bit of a one-hit wonder is that no one remembers most of your other songs.

The band sounded great, but it was a little bit of an awkward feeling hearing songs you used to listen to after the artists hit puberty.

What made MMMbop so great was the fact that it was sung by three dudes that hadn’t hit puberty yet.

Otherwise, it’s just adults singing made up words. It’s not so cute to make up your own language when you sound like an actual adult.

and the Snapchat videos loaded, most of the crowd left and made their way to another set. The band debuted new music after their iconic song, but it fell on deaf ears.

It was a unique moment to see a boy band from the 2000’s hit the stage in 2017. For the most part, the band still had what it takes to make an audience happy. At any rate, everyone enjoyed screaming nonsense words along with a bunch of strangers.

Cour tesy | Wikimedia Commons There was a bit more competitive air to the show, which hung heavily over attendee’s heads. It created an overwhelming uncomfortable feeling for everyone involved. It was a totally different feeling than any other show and was definitely the

only show that produced a negative feeling before the band began.

Despite the drama in the crowd, the Tulsa natives put on quite a show — one filled with throwbacks, which had most of the crowd singing and dancing along. The second that

@sadsquadch

‘The Disaster Artist’ pays respects to a cult classic

By Preston Mitchell Sitting down in Austin’s Paramount Theatre for its premiere of “The Disaster Artist,” it was clear from Seth Rogen and the Franco brothers’ intro that they wanted to document “The Room” in an affectionate way. Granted, the making of “the ‘Citizen Kane’ of bad movies” is ripe for biting satire. But James Franco – who directed – culled some amazing talent to tell this absurd story through a genuine love for the film and its creator. And it’s absolutely wonderful.

Based on Greg Sestero’s memoir of the same name, the film centers on him (Dave Franco) and his early friendship with Tommy Wiseau (James Franco). A young man with aspirations of acting, he quickly connects with Wiseau’s Hollywood ambitions – despite Wiseau’s eccentricities, outdated hair and ambiguous accent that he attributes to Louisiana.

After meeting in San Francisco, they both move to Los Angeles to

jump-start their careers, only for Wiseau to realize that his best bet is producing and directing a movie all by himself.

Unlike other movies about behind-the-scenes filmmaking, James Franco’s decision to make this a buddy comedy blends sincerity with the requisite chaos we all know and love him for. Fortunately, his direction is subtle enough to complement the slice-of-life nature of the story, while his artsy sensibilities are sparingly saved for onscreen texts that jab at how serious movies handle temporal transitions.

For the first movie to star both Francos, the leads throw themselves into their roles, with James Franco delivering his most career-defining performance since “127 Hours.” He reportedly studied Wiseau’s voice in his car for hours, akin to how the real Wiseau studied James Dean in his formative years prior to funding “The Room,” and his performance completely nails the cult legend’s cadence, presence and warped views of filmmaking.

Dave Franco, who is the heart of the film, does a really solid job of making Greg Sestero a relatable human being that just wants the best for his comrade. Even if his comrade doesn’t quite jibe with the rest of reality.

For hardcore fans of “The Room,” the film has this “Ed Wood” meets “Boogie Nights” vibe that works to its advantage.

Oscillating between recreations of classic scenes, and coworkers mocking Wiseau’s vision, “The Disaster Artist” is an hour and 40 minutes of nonstop hilarity.

Thanks to some great supporting performers, such as Seth Rogen as the script supervisor, Zac Efron as one of Wiseau’s actors and Hannibal Buress as a co-owner of the stage itself, this is a zany true story told by some of the best in the business.

Since it was written by Scott Neustadter and Michael H. Weber – who wrote the hits “500 Days of Summer” and “The Fault in Our Stars,” as well as the underrated “The Spectacular Now” – their

Dave Franco and James Franco as Greg Sestero and Tommy Wiseau in “The Disaster Ar tist.” Cour tesy | SXSW mastery of comic character depth makes this one of the strongest Franco/Rogen efforts.

Unlike their previous efforts “Sausage Party” and “The Interview,” where improvisation superseded refined running gags or a concrete plot, the tight script from Neustadter and Weber reigns in every comedian and keeps their humor on topic.

Whenever the final cut hits theaters, go see “The Disaster

Artist” big and loud. If you’re a fan of cult cinema, like so many of us who gave the film a standing ovation, this is the most fun film since “Ed Wood” to detail that subculture. You may even want to play football afterward.

@prestomitch

NTDAILY.COM | PAGE 7

Drake’s ‘More Life’ is not worth remembering

By Matthew Brune I’ll let Lil Wayne do the intro of this review with his random sentence at the end of the song “Blem,” where he says, “Good morning, good afternoon, goodnight. I’m here to talk about ‘More Life.’”

Initially reported to release in November, then December and then January, this long-awaited Drake album – or “playlist” as he calls it – finally came out on March 18.

Everybody who cares about music has heard it by now.

Yes, there is a difference between a playlist and an album, and it is extremely obvious to avid music listeners. “Views” was an album with some cohesion and an underlying theme of what it’s like in Toronto throughout the year. “More Life” has no protruding theme, but rather a playlist of songs that Drake has made over his time touring and testing things out with different artists.

Obviously, when you listen to this project for the first time, it feels fairly different than his past works.

As someone who spent about seven hours listening to this, I tried to relay it back to some of his old works and mostly couldn’t.

By the way, why on Earth did he need to make this 22 songs and 81 minutes long? He could have easily taken out five or six songs to make it more consumable.

One way this differs from previous Drake projects is that he features British “grime” artists on three of the tracks, Skepta and Giggs. And that’s not including Jorja Smith, an 18-year-old UK singer featured on two more songs. The British influence is prominent in more than the features though. Drake gives his listeners a “grimy” sound in the songs “No Long Talk,” “Gyalchester” and slightly on “KMT.” To some, this move is acceptable, but for most Americans, Giggs’ verses

have been ridiculed on Twitter and I can not really blame them for doing so. His and Skepta’s lyrics are not on point at all and actually take away from what could be decent songs. If Drake was rapping like he did on any of his previous projects, he would have much better verses than the British artists. He still did though, despite obvi=ously not putting much effort into his rhymes.

Also noteworthy are the Caribbean-influenced songs, which isn’t surprising as Drake had three tracks on “Views” with a Caribbean theme to tribute the Caribbean population in Toronto. Drake mixes up the Caribbean and British influences in the first 10 tracks, which is kind of weird, but these Jamaican-themed songs have much more pop and flavor. This is evident in the tracks “Passionfruit,” Madiba Riddim” and “Blem.”

Finally, the most popular tracks are “Portland,” “Sacrifices” and “Ice

Melts,” largely because of features from 2 Chainz, Quavo and Young Thug, as well as their production.

The remaining 10 songs are what you expect a Drake album to be like.

Songs about women, family, friends and fake friends, along with his ambitions and future.

Personally, this playlist didn’t do it for me. I like Drake and a lot of people love Drake, but to continuously push back the release date just to drop something 11 months after “Views” – and not make it a solid album – is disappointing. The songs get repetitive and uninteresting as a consecutive listen, but as singles, most of the songs are more digestible.

“More Life” feels like, once again, songs that he did not care about, which is why he just made this a playlist. He basically did what Future’s “HNDRXX” was, which was longer choruses, more bridges and much shorter, if any, rap verses.

The British, Jamaican and trap

Cour tesy | Wikimedia Commons influences on this album are there for one of two reasons: either he really appreciates and enjoys the genres or he’s trying to expand his reach even further as a global pop star. I’m not sure which is true, but this is not the Drake of “Comeback Season” or “So Far Gone.”

There’s nothing wrong with experimenting or releasing B-sides, but we all know Drake is capable of more creativity and rapping ability.

Even “Views” was more enjoyable than this.

@mattbrune25

‘Beauty and the Beast’ is another Disney home run

By Kayleigh Bywater Even though it’s a tale as old as time, Bill Condon (writer of “Chicago,” director of “Dreamgirls”) has retold 1991’s “Beauty and the Beast” in a fresh and exciting way.

As a lifelong Disney fan, I couldn’t wait to sit down in the theater and sing along with Belle, the Beast and Gaston once more, simultaneously admiring Belle and watching her love

story unfold. I got tickets for the earliest showing on Thursday night, bracing myself for the reenactment of my second favorite Disney movie – besides “The Little Mermaid” of course.

And honestly, I wasn’t disappointed.

This live-action remake is lavish and stunning, offering the same sense of nostalgia that the live-action “Jungle Book” and “Cinderella” brought to viewers recently.

Belle (Emma Watson) and the Beast (Dan Stevens) reenact the classic ballroom dance in “Beauty and the Beast.” Courtesy | Walt Disney Pictures

“Beauty and the Beast” centers on Belle (Emma Watson), a bright, witty and strong woman who is imprisoned in a castle after taking her father’s place. Within the castle resides a princeturned-beast (Dan Stevens) and his enchanted staff. His staff includes Ian McKellen as Cogsworth, Emma Thompson as Mrs. Potts, Ewan McGregor as Lumiere, Audra McDonald as Madame Garderobe and Stanley Tucci as Maestro Cadenza – all transformed into material versions of their jobs by an enchantress.

Through song, dance, metaphors and discoveries, the Beast must learn the meaning of true love as Belle tries to look past his hairy appearance and raging troubles to discover his good side.

While this new, contemporary spin on the movie follows the original film closely, the cast’s ability to modernize the music, crack jokes and bring emotion has added to the original’s legacy instead of detracting from it.

One thing the film does extremely well is the relationship between Belle and the Beast, as the two are trapped in the castle for opposing reasons. Belle unselfishly took her father’s spot as a prisoner, while the Beast only cares about himself. Their chemistry evolves throughout

the movie as they learn from each other in ways neither of them foresaw. And that’s what makes their romance so unique.

In many Disney movies, the story beats are similar. Girl meets boy. Villain stands in their way. Girl and boy figure it out.

Everything is hunky dory in the end, and they live happily ever after. While this formula is used in “Beauty and the Beast,” it’s not automatic. Belle isn’t pining after the Beast, and the Beast has to earn her trust and love instead of getting it handed to him. Although it takes two hours for them to reach their “happily ever after,” it takes sacrifice and understanding to get there.

Another classic Disney ingredient is the hallmark of catchy, great songs. Even though the movie added a few new songs, the sentimental performances were colorful, bright and joyful. With Alan Menken, the composer on the original movie, returning for this remake, the soundtrack this time did not fall short of living up to expectations.

While the original songs are still great, the most impressive redo was the “Be Our Guest” cover, where animation, color and fireworks blended together for lively fun sung entirely by household items. It had me singing along and tapping my feet, wanting to get up and dance

at the screening.

Another Disney staple is the villains, with Gaston (Luke Evans) being one of the most conceited, stuck up and ignorant characters to ever grace a Disney production. Evans portrayed the fervent bachelor in a way that made me disgusted by him.

His massive ego, backstabbing tendencies and memorable song about – you guessed it – himself really brought his character to life in a way that the animated movie hadn’t before.

While the 2017 “Beauty and the Beast” has some improvements over its predecessor, there were also parts it could have honestly done without.

Considering the controversy surrounding Gaston’s sidekick LeFou (Josh Gad) being Disney’s first openly gay character, his gags came off forced most of the time. As great as Gad was, his lines seemed unnatural in so many ways. Whether it was the awkward, long hug between him and Gaston to his somewhat silly “I’ve decided to switch sides” line, he was trying too hard to make LeFou different.

Another flaw was the animation of the Beast. From the moment I saw the first poster with the Beast’s face, all I saw was a demon-looking buffalo instead of the large, doglike beast from the animated

version. While it may not seem like much, the Beast is one of the main characters of the movie and their haphazard ways of making the Beast seem real could have been improved.

While it’s hard to make a 9-foot-tall character with a tail, sharp teeth and human tendencies seem real, look at previous technical accomplishments. Jon Favreau’s “Jungle Book” is almost entirely animals created on an L.A. sound stage. While the Beast wasn’t that bad in comparison, it certainly wasn’t Favreau standards.

Let’s be honest. This version almost cloned the original. And while the original will always hold a special place in my heart, the best thing Bill Condon could have done was stick to that story and build upon everything else about it.

Despite its problems, Disney reinvented this classic in a better way than we could have ever imagined. It makes studying for exams and pulling all nighters not as bad when you can relive a part of your childhood in a theater near you.

@kayleigh_bywater

THE DOSE | PAGE 8

Vanessa Carlton looks ahead to what’s next

By Kayleigh Bywater

While most people recognize her as the voice behind “A Thousand Miles,” singer Vanessa Carlton is ready to get some new songs stuck in people’s heads.

Carlton has been hard at work creating new music and producing albums in order to showcase her growing talent, new experiences and unique views on life.

With “Liberman,” “Liberman Live” and “Earlier Things Live,” her three latest albums, she’s ready to show her audience all she can do through her current tour.

“Music is transcending,” Carlton said. “I think it leads to deeper affection in human beings. [There’s] a really special connection between living things and music.”

Her love of music began close to her heart – at home.

Carlton grew up in a musical household, where both of her parents either played or performed music almost everyday.

Carlton’s interest in performing came from her

mother, who was a pianist and a teacher.

“She would teach piano out of our house,” Carlton said. “As early as I can remember, there were always kids over learning how to play piano at my house. We had at least three pianos in the house at all time. Always one grand piano, and a bunch of uprights everywhere. It was inescapable, and was really a nice way to grow up.”

Much of her work is influenced by her family as well. “Liberman,” which was released in 2015, was named after her grandfather, whose artwork hangs in Carlton’s house.

While the album reminds her of home, it also reminds her of change. “’Liberman’ was a great thing for me, I think,” Carlton said. “My first [real] album [in 2011] went under the radar, and that was really the beginning of my real life, as I like to call it.

And ‘Liberman’ was really me going further.”

While many musicians mark changes in their life through the songs and

albums they produce, Carlton felt this album was a big milestone for her.

“It was really important to me in terms of establishing and connecting the dots in terms of who I am now and what my sound is,” Carlton said. “I look at that album [and] that release really is like my foundation record, and I can really now go off and explore [who I am].”

“Liberman” paved the way for her last two albums, which are both live. Carlton said the process of creating them was somewhat organic, akin to revisiting an old friend.

But instead of living in the past, Carlton wants to remove herself from its shadow. While the soundtracks feature some of Carlton’s earlier music in conjunction with her more recent songs, she doesn’t like focusing on that period.

“What drives me is my curiosity,” Carlton said.

“I feel really good about pushing myself out of my territory. Don’t look at the past. I think, for me, I’m like a shark. I have to keep moving forward, or I die.”

For Carlton, it doesn’t mean that playing her older tunes is any less enjoyable.

She said it is a thrill to pay homage to her past songs to see how differently she performs year after year.

“We push ourselves to [play] some songs and albums that we haven’t played in a long time, to [just] learn some songs that I love that I just haven’t played in a while,” Carlton said. “[I want] to create a different show than last year’s show. People that don’t know anything about my live shows, it’s in a way, better than just hearing one song on the radio. It’s a totally different experience.

There are stories that are told.”

Carlton will be making her way to Dallas on Friday, March 24, at the Granada Theater. While the tour focuses on some of her throwback pieces, she isn’t afraid to tease what’s next for her discography.

She said she is interested in potentially writing music for film, but is currently spending some time writing for her next album. For now,

Cour tesy | Wikimedia Commons however, Carlton wants to sit back, venture out and perform.

“I’m not a very nostalgic person at all, and I cannot live in the past,” Carlton said. “I’m [actively] moving forward. But I think [these albums] were a nice way to revisit some of those older songs. My voice has

improved so much over the years, and it’s important to me that you’re going to hear those songs and hear them as they are now.”

@kayleigh_bywater

Future breaks records this month

By Xavier Spurlock

Future on the Honest Tour at the Sound Academy in Toronto on July 11, 2014.

Cour tesy | Wikimedia Commons

Around the third quarter of last year, barbershops and lunch tables all began to count Future’s new “Hndrxx” album out.

“He can’t top his 2014-15 run,” they said. “It can’t get bigger than ‘What a Time to Be Alive’ or ‘DS2.’”

As of today, Future is the first solo act in Billboard history to be No. 1 for two back-to-back albums. Along with a new Beats 1 radio show and an upcoming tour featuring Migos, Tory Lane and Kodak Black, with Young Thug and A$AP Ferg on certain shows, Future is continuing to push barriers and build his legacy.

On Feb. 14, Future commented on the fans who, once again, stopped believing in him by tweeting this: The fans were not prepared for

what was about to happen within three weeks.

Three days after, Future released his 17-track “Future” album on Beats 1 show, titled “Freebandz Radio.” This is Future at his finest.

With tracks like “Draco” and “Super Trapper,” Future is reminding the culture that he is, and has been, running rap.

It became Future’s fourth no.

1 album in the last two years, and he was far from finished. Within the first week of the release of the album, Future released music videos for “Draco” and “Super Trapper.”

If people were unaware of how hard Future works, he proved it this time around.

A week after his first album of the year, it was time for another episode of “Freebandz Radio.” That week, Future and DJ Esco released

“Hndrxx,” the second album of the month.

It was a completely different sound compared to the selftitled album, and it was a soulful album with concepts and sounds completely new for contemporary culture.

On the song “Use Me,” Future tells a woman all that he can provide for her so she knows how to utilize what he does to her benefit.

His crooning on this song is very similar to his Dungeon Family comrade André 3000’s singing on “Hey Ya!” This year has already been strong for hip-hop, with both Big Sean and Migos also gaining a no.1 within the first two months. With Drake’s “More Life” on the way, it’s looking like a great year for rap.

As for Future, he plans on going back to a more underground sound

and reconnecting with his original fans this year.

“The fans are going to dictate everything that I do, pretty much, in 2017,” the mumble rapper told television presenter Zane Lowe.

“It’s not going to be me. I’m going to see how the fans react, what they’re thinking about and what they are talking about.”

The debate used to be over whether or not Future has peaked.

Now as we wait for more music from him, it has changed to which album is better: “Future” or “Hndrxx.”

Personally, I’ve been in limbo since the day “Hndrxx” was released.

While you’re thinking about which is better, go ahead and get your tickets to his Nobody Safe Tour and spend some time this summer singing “Percocets!”