Nobody’s Daughter is less interesting than America’s Sweetheart, in a rubbernecking kind of way, but it’s infinitely better constructed.
While immensely entertaining, this is hard to consider very original or groundbreaking.
Head First is a brief trip, but it’s saturated with enough hi-NRG motifs and sounds for countless sweaty workouts at Jack LaLanne.
It’s clear that the old Williams is itching to get out, and that she’d be much better off on HBO or even basic cable.
hantogram isn’t solely stuck in a late-20th-century reverie.
Due to semi-popular demand, we’ve decided to post #101—250 of both our Best of the Aughts: Albums and Best of the Aughts: Singles lists.
Soldier is the unequivocal product of a lover callused by years of disappointment.
If you like crane shots and hyper-saturated cinematography, but don’t care much about bonus features, this surrogate’s for you.
A couple of brief but info-packed extras complement the Shine director’s latest weepy, true-life adaptation.
Grace Jones and David Bowie are obvious influences, but it’s impossible—impossible!—to discuss Lady Gaga and not talk about Madonna.
Not much star power bolstering the disc’s bonus features, but overall it’s a nice package for a rather small film.
If you’ve got a Ruffie hangover, you can relive the The Hangover for the first time all over again. Just skip the bonus material.
Fame Monster does provide some small, if fleeting, glimpses behind the pretense that is Lady Gaga.
Just as Number Ones’s sequencing highlights Janet’s impressive early years, it also underscores her startlingly abrupt decline.
She Wolf is unequivocally “American.”
Annie sports a tiger-shaped dress on the album’s cover art and dons a more aggressive persona to match.
For an artist who’s made a career out of subverting Christian imagery, Tori Amos comes off surprisingly reverent on Midwinter Graces.
So if not now, Joe, when?
Madonna’s mother died when she was six. But you knew that already. The rest you probably didn’t know, but should.
Throughout, humor and romance are interspersed so predictably that it’s as if screenwriter Pete Chairelli were working from a rom-com checklist.