Thirty years later, U2’s Achtung Baby is still intact as the band’s best and most fully realized album.
Throughout, the too-brief depictions of Luciano Pavarotti’s flaws are conspicuously shrouded in a veil of hagiography.
The film is intended to be placed at the altar of Julian Schnabel, an artist so singular that words simply fail.
It’s a classic case of two wrongs inciting the Right, from a branch that lately can’t seem to make up its mind whether to nominate too many songs or too few.
For the past eight years, the Killers have partnered with (RED) for a Christmas single.
This is the rare documentary that lionizes an accomplished figure without tipping into hagiography.
What’s the point of U2 3D beyond simulating a front-row view of one of the band’s concerts?
Julie Taymor is clearly trying hard to gussy up a screenplay that plays more like The Wonder Years without the cultural insight.
Julien Temple’s Joe Strummer: The Future is Unwritten is, for the most part, some sort of incredible.
The film sets out to accomplish an ambitious goal: to resurrect Bukowski’s memory and to elevate his reputation to the level of Wordsworth.