Category: Pop

Album Reviews 26/03/12

Quinsin Nachoff, Patterns From Nature (Whirlwind Recordings)

This New York-based saxophonist and composer has earned a rep for “moving fluidly between jazz and classical worlds through stirring yet intricately cerebral compositions,” to borrow some promotional verbiage I’d never use myself to describe anyone’s music but which isn’t too shabby overall. Nachoff does use a wide spectrum of sounds to render these soundscapes, which are meant to describe precisely what you’d expect from the title, i.e., a fractal, ever-expanding aural depiction of nature at work (there’s a companion video that was designed with the help of a physicist). There’s even a musical saw at work in the opening track, “Branches,” a sighing, often mopey exercise that borrows the creepy nervous tension from Jonny Greenwood’s avant garde soundtrack to There Will Be Blood, in which warring strings dance around their own dissonance without ever providing real closure, while elsewhere we have bouncy nature-documentary cuteness (“Cracks”) and so on. A highly intellectual engagement that took 10 years to complete, well worth your time. A+

Rivers of Nihil, Rivers of Nihil (Metal Blade Records)

I’m really not trying to be the Chuck Eddy of New Hampshire rock journalism, sticking to heavy bands and ignoring others; really the only reason I’m reviewing a metal record for the second week in a row is that Metal Blade Records was kind enough to send me a 12-inch vinyl copy of this one (yes, I can be bought cheap, please take note; I miss the days when I’d get stacks of vinyl from SST and all the other indie labels, so chalk up this hiccup to a desire on my part to relive my 20s). This one just came out in “bleach and ammonia” colored vinyl (gray/black marble), which is cool, and their music is cool too in its way. The band markets itself as a progressive/extreme metal thingamajig, and yeah, there’s a lot of both genres going on: Instead of a bunch of gear-changes from Cookie Monster thrash to epic metal, these guys simply layer those things together like a peanut butter cup, using the Cannibal Corpse stuff as a drone device, which is pretty freaking clever, and, of course, brutal. I’m not surprised that the thrashers have been loving these guys. A+

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Like every other Friday, March 13 will be a day of new albums, yadda yadda. It is another Friday the 13th, because we had one last month, which is how March always rolls 75 percent of the time because the Gregorian calendar was a silly idea to begin with, but either way we can start with the new album from Daniel Romano & The Outfit, a project that usually features Canadian indie-slacking musician/poet Romano, but this time it doesn’t, which I’ll blame on Gregorian calendars because there’s no one else I can think of to yell at. The album is titled Preservers Of The Pearl, and once again it will focus on “underground rock” because that’s what Romano wants the five people who show up at his shows to think it is, but there are several songwriting collaborators on board for this exercise in mediocrity, namely Outfit band members Ian Romano, Carson McHone, and new guy Tommy Major, all of whom were probably ready to quit if Daniel didn’t let them write some songs, you know how it goes. Supposedly they are trying to follow in the footsteps of (their words, mind you) “underground rock trailblazers like Mystery Lights, Sheer Mag, Shadow Show, and Uni Boys,” but my first encounter with this album was the tune “Cardinal Star,” which is the most boring, decidedly non-underground song I’ve heard all year, like it’d be too boring for Sheryl Crow to include on one of her albums, but believe it or not there’s a little hope here, thanks to the lead single “Autopoiet,” which, if it had a little more punk in its vibe, would be almost as interesting as your basic Parquet Courts tune, if you remember those guys, but anyway, what I’m getting at is that The Outfit is no more “underground” than eating a tuna fish sandwich in the park, but if Romano wants to insist that this is something rebellious, I can nod, walk away slowly, and simply allow this band to fade into oblivion, no harm done.

• Speaking of overhyped bands and musicians who’ve gotten away with spectacular mediocrity, look, gang, it’s Sonic Youth’s bass player Kim Gordon, with a new album, Play Me, another Friday The 13th arrival she probably timed just to be random and hip. Now look, I have my reasons for never having liked anything by Gordon or Sonic Youth or Thurston Moore, the main one being that I’ve never felt the urge to burn any of their songs to a mixtape because eww, but note that this doesn’t mean that I never liked any indie bands from the ’80s and ’90s, just the really popular hipster ones; I mean, back then the record industry was taking the Boston indie scene seriously out of sheer desperation. But who knows, maybe I’ll hear Gordon’s new single “Not Today” and think it’s so cool that I can forgive her for once literally claiming that her dream three-band concert would feature John Cage, Neil Young and Yoko Ono (that wasn’t easy to get over, and don’t think I didn’t try). Oh let’s just roll it and let me barf in peace. Eh, it’s not awful, lots of distortion, some Romeo Void-style singing, it’s OK as a post-No Wave song, may I be excused now?

• Oh great, it’s The Black Crowes, whom I’m still mad at after all these years for not sending me an advance of that one album, whatever its name was. Their new LP A Pound Of Feathers includes the song “It’s Like That,” which sounds like Whitesnake trying to be relevant. They’ll be at the Xfinity Center in Mansfield, Mass., on June 19, but I shall not mooch passes to be in attendance, so don’t look for me.

• Lastly it’s U.K. band The Orielles, with Only You Left, featuring the single “Three Halves,” an interesting enough combination of shoegaze vocals and extreme-metal guitars, all overdone.

NOTE: Local (NH) bands seeking album or EP reviews can message me on Twitter/Bluesky (@esaeger) or Facebook (eric.saeger.9).

Featured Photo:

Family movie night

A look at the Oscar-nominated animated features

This year’s Oscar-nominated animated features are all fairly kid-friendly — though the fact that your family can watch these movies together won’t necessarily mean the whole family will want to.

“This is a great movie,” deadpanned my most sarcastic child about 20-ish minutes into Arco (rent or purchase), a French animated movie that in its English dub features the voices of Mark Ruffalo, Natalie Portman, Will Ferrell, Andy Samberg, Flea, America Ferrera and more. Arco is a boy living about 1,000 years in the future and eager to go back in time, as his parents and older sister frequently do, to see dinosaurs. He steals a time-traveling flying suit and zooms off, only to land in the 2070s in a world of robot nannies and suburban homes existing in bubbles meant to protect them from rainstorms and wildfires. Arco is found by Iris, a girl around his age, and the two work on trying to get him back to his time, while dodging a trio of goofballs who have stumbled on the diamond Arco needs to power his suit. While I don’t exactly agree with my kids — the bored one who stayed to complain about the movie, the even more bored one who lasted about five minutes during the most action-packed sequence before deeming it too boring — Arco does have a chilliness and a calm that counteracts the adventure of its premise. It is, however, lovely to look at and there is real emotion behind the relationships, including between Iris and Mikki, her robot nanny.

Their relationship is very similar to one between the main character and her caregiver in Little Amélie or the Character of Rain (rent or purchase). As a baby, Amélie is decreed a “vegetable” by her doctor, but when she’s about 2 years old, an earthquake and a few squares of white chocolate wake her up to the world — specifically, her world in mid-20th-century Japan where her Belgian diplomat father and concert pianist mother are living with Amélie’s two older siblings. When the kind and thoughtful Nishio-san comes to work for the family, Amélie bonds with her, learning how to be in the world and to process experiences of grief and joy. Their relationship is very sweet and the movie is rendered in a kind of picture-book brightness that I enjoyed but could be too gentle for kids looking for, say, demons and sword fights.

KPop Demon Hunters (Netflix) on the other hand delivers when it comes to action and was a movie that I think my kids watched on repeat for about a month after its June release. The trio Huntrix is a hugely popular KPop girl band who are also secret demon fighters, the latest in a long line of fighters throughout history whose voices create a protective shield between our world and the demon world and who have the ability to spot and battle any demons that sneak through. With its pop music soundtrack (including original song nominee “Golden”) that to me sounds like the music you hear at a workout class and its stretches of tinny earnestness, this one is very much not for me, though I do appreciate the elements of the movie reminiscent of Buffy the Vampire Slayer (“into every generation,” etc.) and Jem and the Holograms (secret identities and a “totally outrageous” stage presence). And the movie has its moments of goofy fun, particularly as Huntrix is faced with battling demons taking the form of a floppy-haired boy band.

My kids enjoyed KPop Demon Hunters and they liked, well enough, Zootopia 2(rent or purchase), a movie whose most “adults friendly” quality is that I, the parent, could let myself snooze through the movie knowing my kids would be reasonably entertained and kept in a Disney safe space. As with its previous outing, Zootopia 2 features a fox (Nick Wilde, voiced by Jason Bateman) and bunny (Judy Hopps, voiced by Ginnifer Goodwin) working together to fight injustice. This time both Judy, the cop trying to prove herself, and Nick, a former guy on the make, are police officers. They attempt to overcome big-animal privilege and prove their own abilities in the investigation of some sneaky goings on that may have links to the founding of Zootopia and the longtime mammal/reptile divide. As with the first movie, it is jarring when the movie attempts to map people-world racism and classism onto animals. There are several instances of “wait, what?” with the whole Movie Saying Something vibe here. But it also features lots of quick moments of animal goofiness, usually involving one of the mile-long list of big-name voice actors — Idris Elba again, Andy Samberg, Ke Huy Quan, Patrick Warburton, Quinta Brunson, to barely name a few.

But the winner of this year’s nominees in terms of “won’t hurt the parents, won’t bore the kids” is, in my opinion, Elio (Disney+, rent or purchase). (Winner for me but probably not for Oscar. Gold Derby and my kids agree that, as one kid said “oh, KPop Demon Hunter is going to win, 100 percent.”) Released to absolute “meh” reactions in June, Eliois a Pixar movie, and while not one of Pixar’s best it is a solid tale of a kid trying to find his place in the world. Or really, in the universe, as Elio (voice of Yonas Kibreab), a boy who longs to be abducted by aliens, feels he doesn’t fit in to this world, especially after the death of his parents. He fears his aunt Olga (voice of Zoe Saldaña), an Air Force officer, resents having to care for him as it means she’s had to give up on entering the astronaut program. However, her position at an Air Force base does mean he’s nearby when they receive what seems to be a message from deep space. Elio manages to send a message back to the aliens, lending them to think he is the leader of Earth. He is whisked to space and finds himself involved in interplanetary politics — and, for the first time in a long time, making a friend. Where the movie really gets me is in its use of sound clips of Carl Sagan, which bring a hopefulness to this sweet tale that still manages to pack in lots of alien capers and physical comedy laughs.

Featured photo: Little Amélie or the Character of Rain

The Rest of Our Lives by Ben Markovits

(Summit Books, 229 pages)

A dozen years ago Tom Layward learned his wife had an affair. He decided he’d stay with her until his youngest child left home.

Now that milestone has arrived. Tom’s son, Michael, is living in Los Angeles, coming home as rarely as he can get away with; he has become “one of those young people who decides that contact with their family is not a source of happiness, so you have to limit it to unavoidable occasions.” His daughter, Miri, is headed to Carnegie Mellon University and trying to extract herself from a romantic relationship before she goes.

For Tom and his wife, Amy, the past 12 years have been an exercise in marital managed care. Most people who stay married for the long haul, Tom observes, do so because “you’ve accepted that this is what they’re like, and what your life with them is like, and you stop expecting them to do or give you things you know perfectly well they’re unlikely to do or give you. It’s like being a Knicks fan.”

With that, author Ben Markovits signals what the ride of Tom Layward’s life will be like in his 12th novel, The Rest of Our Lives: an excavation of a marriage and its attendant family life, served with droll wit that is a welcome interruption to Tom’s matter-of-fact recitation of events.

It’s a quite manly book, unusual in a fiction market oversaturated with women’s points of view.

Tom, the first-person narrator, is a 55-year-old law professor who departed from literature when he realized he actually would have to write a book. He met his future wife (who “looks like the kind of woman who can ride a horse, which she actually can”) when they were both graduate students in Boston. Amy’s family has a vacation home on the Cape, which is where we first observe the Layward family’s dynamics: the simmering conflict between husband and wife, and between wife and daughter, of which Tom notes, “from the beginning their relationship was one long argument.”

Tom’s relationship with his kids is less fraught; he feels comfortable talking with his son, and he is looking forward to driving his daughter from their home in Scarsdale, New York, to Pittsburgh, as a family. When Amy decides not to go, he doesn’t object and is still planning to drive home after moving his daughter in.

But after spending the night in the spare bedroom of a friend in Pittsburgh, he takes off on an impromptu road trip that will begin with a visit to his brother and end with a visit to his son, first visiting a Walmart to buy clothes, snacks and a basketball for the road. (“If you ever want to feel your place in the scales of the universe, go into a Walmart Supercenter,” Tom says.)

He has the bandwidth for a road trip because, unbeknownst to Amy, he’s on leave from his job, having inadvertently become entangled with a scandal through a client. When she reaches him, bewildered, he’s in Akron and vaguely explains that he needs a few days to himself. It’s clear he’s not even really sure what he is doing or what he will do next. Meanwhile, the physical problems he’s been having for months — waking up with a puffy face and draining eyes — are worsening. Everyone has been telling him to get medical help, but Tom is too involved in his existential crises and keeps writing the symptoms off as long Covid.

Throughout the trip Tom ruminates on his marriage, which he concludes “was a C-minus marriage, which makes it pretty hard to score much higher than B overall on the rest of your life.” Along the way we learn more about Tom’s childhood and other aspects of his life.

He doesn’t have an especially compelling voice, which can make it difficult to want to stick with him when he’s talking about minutiae, such as what he and others are eating. There are no made-for-Hollywood plot twists here, just the quiet unspooling of a life, with two questions that beckon the reader to the end: What’s wrong with Tom physically, and will he leave his wife?

The Rest of Our Lives, first published in the U.K.,was on the short list for 2025’s Booker Prize, which may baffle some readers who find the novel’s plodding pace tough sledding. But it doesn’t so much intend to dazzle as to evoke, and its heart and intelligence won me over, as did its understated ending. B+ —Jennifer Graham

Featured Photo: Dragon Cursed by Elise Kova.

Album Reviews 26/03/05

IT’sALIE, Wild Games (Frontiers Music s.r.l.)

I know it’s lazy of me to write about arena-metal bands, given that I was in one for about 14 years and know the genre and all its predictable, hare-brained tropes like the back of my hand, but I think it’s been a long enough while since I last wrote up an LP from the Frontiers record label, which I always affectionately refer to as “Frontiers Mercy Hospital,” given that they remain committed to releasing records from bands whose musical growth stopped at either Judas Priest or Iron Maiden. The band’s name isn’t a misprint, they’re not “It’s A Lie,” but they’re Italian, so what do they care (it makes me think of all the Americans out there who’ve gotten tattoos with “genuine Chinese characters” that actually read something like “If tent parakeet for” or whatnot). These guys say they like Lynch Mob, Dio–era Sabbath, and Southern Rock,” how adorable, let’s go. OK, it’s a girl singer whom they tout as having Janis Joplin chops, which she doesn’t, more like if your aunt sang for a Skid Row cover band, which is what the first song (“Waiting For The Rain”) sounds like. The next soggy tune sounds like Buckcherry, zzz I am getting shleeeepy, nothing to see here but yay for these guys, sure. B- —Eric W. Saeger

Onelight, Autobody (self-released)

Finally something I can sink all four of my canines into, from a French R&B-experimental hybrid-electronic DJ/producer who’s gotten love from DJ Mag, Complex, and Rinse FM, I’m all over this. Dude looks like a cross between Borat and the U.S. Olympics goalie, and I simply can’t be arsed to try Googling up his real name, but he’s got more soul in him than a dozen Jamie Liddells or (lord help us all) Steve Aokis. He kicks things off with a glitchy dubstep-adjacent curveball (“Starter”) that had me expecting a showoff-y, unreadable noise filibuster, but it settles into a wickedly relatable groove that’ll be the envy of a lot of EDM guys. A lot of stuff goes on here, folks, from Mariah Carey diva-twee (“Let It Be,” featuring the helium-inflated vocals of Nikki Ariel) to bong-bubbling reggaeton (the title track) to Martian bloop-tech (the Tristan Price-guested “Keep Your Heart Alive”). I have absolutely nothing bad to say about this record, it’s truly a beauty. A+ —Eric W. Saeger

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Oh great, here comes another Friday, specifically the one on March 6, which spells new albums for your ears! We’ll start this week with very old U.K. New Wave band Squeeze, who tortured human ears in the 1980s with jangle-pop nugget “Pulling Mussels (From The Shell)” and the even more awful
proctologist-waiting-room standard “Tempted,” which had xylophone in it, before xylophones became cool again in the Aughts for whatever reason! The band’s revolving door membership once included singer Paul Carrack, who was in Mike And The Mechanics for a while, but either way, during their early ’70s breakout era, Allmusic hailed the band’s songwriting core of Chris Difford and Glenn Tilbrook as “the heirs to Lennon and McCartney’s throne,” that is to say, they were the next Beatles, a compliment critics have doled out over the years to, let’s see, The Bee Gees, The Monkees, Oasis, and the Bay City Rollers just to name a few (in the Reagan era, Tears For Fears skipped the middleman and just came right out and said they were the new Beatles, that’s telling ’em!). Whatever, Squeeze has a whole new incarnation these days, built around Difford and Tillbrook, including Dirty Vegas singer Steve Smith. This all brings us to the band’s new album Trixies, their 15th. The project features songs written by the duo in 1974 when they were teenagers (19 and 16, respectively), long before their first official record, which is as things should be, given that the chill-pop single, “You Get The Feeling” sounds like it was written by two teenagers who had just discovered the guitar arpeggio, how useless!

• New Jersey-born R&B/pop singing man Charlie Puth shoots for his fourth straight Top 10 album this week with Whatever’s Clever! He is really going for it this time: Instead of settling on feats from nobodies like Meghan Trainor, Boyz II Men, Blackbear or Jungkook again, he’s corralled a Who’s Who of super-famous 1980s names to turn in guest appearances, for instance Michael McDonald, Kenny Loggins and Jeff Goldblum, wait what, why is Jeff Goldblum on an album, what is even going on here, pop culture! There have already been two singles from this album; the latest one, “Cry,” features pop saxophonist Kenny G, who once tried to make jazz safe for normies with no taste, but we won’t get into that. The tune has a yacht rock vibe stolen from Toto’s “Africa”; it is very nice and pretty, perfect for the overhead speakers at Bed Bath & Whatever, I don’t really mind it.

• Before I landed at your illustrious Hippo Press, I was on a team of snarkmeisters at a seacoast-area newspaper that has basically been banished to online-only publication these days. Now, my editor there was a big fan of Morrissey, who used to be in The Smiths, whom she also liked very much, and she’d get all over my case if I made fun of either band in my column, because I couldn’t stand them. Much good-natured ribbing ensued, which usually ended with my messaging something cleverly mean, but either way, I’m sure she’ll be buying Morrissey’s new album, Make-up Is A Lie, just to upset me. But an open mind is important, so I will listen to the title track single, just to upset myself. Yes, it is a tuneless mishmash of French café vibe, 1960s fashion statements and hotdog water, get this nonsense away from me this instant.

• And lastly it’s Kentucky freak-folk fixture Bonnie ‘Prince’ Billy, with his latest album-load of Bonnaroo bait, We Are Together Again. The single “They Keep Trying To Find You” is like James Taylor if James Taylor couldn’t sing all that well. — Eric W. Saeger

NOTE: Local (NH) bands seeking album or EP reviews can message me on Twitter/Bluesky (@esaeger) or Facebook (eric.saeger.9).

Featured Photo: The Grownup Noise, No Straight Line in the Universe and Jennie Arnau, A Rising Tide

Actors and actresses

Catching up on Oscar nominated (and not) performances

In catching up on the Oscar-nominated actor and actress performances, I also checked out some of the performances of non-nominated recent actress-spotlighting movies. Which is to say I made an excuse to go see “Wuthering Heights”(in theaters), a 2026 release that has a good shot at production and costume design nods in next year’s awards season. This Emerald Fennell-directed (she also adapted the screenplay) version feels as much like an adaptation of the Kate Bush song “Wuthering Heights” as it does of Emily Bronte’s book — we mostly get main characters and vibes but only a loose riff on plot from the original text.

Margot Robbie is the Cathy and Jacob Elordi is the gruff Heathcliff, an idea the movie sells mostly by making him look like 2 feet taller than her and eventually giving him a gold tooth. In Bronte-era England, child Heathcliff is “adopted” by Cathy’s drunken father (Martin Clunes) and the two grow up together, forming a deep attachment that turns all heaving chests and longing looks as they get older. But as Cathy’s dad has gambled away the family fortune, Cathy feels compelled to marry wealthy neighbor Edgar Linton (Shazad Latif) to secure her future. Angry Heathcliff runs away for a few years and comes back with money of his own but still as angry and heaving as ever. Everybody here seems more comically unhinged than in the book with Edgar’s ward, Isabella (Alison Oliver), whom Heathcliff marries out of revenge, being the kookiest. Perhaps the movie’s most compelling character is Nelly (Hong Chau), presented here not as a servant who grows up with the main characters but as Cathy’s hired companion who is the child of a titled father and mother who is unmentioned (but it’s implied was not married to him) and is stuck by classism and racism in a lonely existence. There are problems with story and character construction but while not good exactly the movie is an enjoyable watch with Cathy’s enormous red dresses, the windy cliffsides and its “let’s do a silly one” approach to the material. For actresses, this movie probably gives more interesting stuff to do to Chau and even Oliver (she wins the “understands the assignment” award with the delivery of a wink) than Robbie, though she does get some great costumes.

Speaking of unhinged fun, I also checked out The Housemaid (rent or purchase), an adaptation of the book by Freida McFadden, directed by Paul Feig and starring Amanda Seyfried having the most fun. She plays Nina Winchester, wife of extremely rich Andrew Winchester (Brandon Sklenar) and mother of sullen child Cece (Indiana Elle). She hires Millie (Sydney Sweeney) as a live-in housemaid — which is a relief for Millie, who is out on parole and in desperate need of a job and a place to live to keep from going back to prison. I haven’t read the book so I had the fun of spending the first chunk of the movie trying to figure out who — the perfect wife, the doting husband, the eager housemaid — will go bananas. The movie then takes you on a fun rollercoaster ride, in which all performers acquit themselves quite well but Seyfried is the standout. This is a truly fun movie night watch.

I also wanted to see what all the fuss (i.e. gleeful derision) was about Ella McCay (Hulu, rent or purchase), a James L. Brooks movie starring Emma Mackey, Jamie Lee Curtis and Albert Brooks, among others. This strange dramady with its 1990s vibes (but set for no particular reason in the late aughts) feels very much “what if a tween girl became governor.” The movie writes Ella, an adult woman in her mid 30s, as if she was 13 Going on 30-ed from a middle school student government meeting to the lieutenant governor’s office of some pretend state. Here, this patronizingly drawn character gets the top spot when the previous governor is appointed as a U.S. Secretary of something. Ella is supposed to be hyper-competent and love government and public policy but the character acts as though she’s never paid attention to politics at all, even during an election (including her own). This disconnect does fit with the rest of the movie in that nothing about the characters really makes sense. Everybody — Ella’s beloved aunt played by Curtis, Ella’s estranged father played by Woody Harrelson, Ella’s bodyguard played by Kumail Nanjiani — seems like they are in their own separate movie, with tones and plot focuses entirely different from each other. It’s so thoroughly weird and sexist in a very specific mid 1990s way that I almost recommend it as an oddity that needs to be seen to be believed. Almost.

Back to the Oscars and the lead actress nominations. I enjoyed Jessie Buckley’s performance as Agnes, aka Mrs. Shakespeare, in Hamnet (available for rent or purchase). It really is her movie as she plays a mother dealing with grief and a wife dealing with an artistic husband who needs London — and a life largely away from Agnes and her children — to succeed. She does good work making us feel the weight of all this.

Song Sung Blue (Peacock, rent or purchase) gives Kate Hudson her Oscar nomination for playing Thunder, the stage name for Claire, wife of Lightning or Mike (Hugh Jackman), a journeyman musician playing rock medleys at fairs and the like. When he meets Claire he is both instantly smitten and inspired by her to create a Neil Diamond Experience act, which he names Lightning and Thunder, giving Claire a nickname that she finds delightfully empowering. Hudson is truly the movie’s center, turning in a strong performance of someone who has to fight her way through considerable life hurdles while trying to keep optimistic about what she can accomplish. She’s able to show us all of of that, and a sense of humor, in small gestures and expressions. I am fully team this-era Kate Hudson. I also liked what Ella Anderson and the musician King Princess do here, playing Claire’s and Mike’s, respectively, teenage daughters from previous marriages. This is a movie tells a straightforward story but truly sings because of its performances. Plus some extremely fun music, including, of course, “Sweet Caroline” — bum bum BUM.

As mentioned in my year-end look at films, I lovedRose Byrne as a mom clinging to sanity in If I Had Legs I’d Kick You(HBO Max and for rent and purchase). I saw Bugonia(Peacock, rent and purchase), which got Emma Stone a nomination, a while back and generally did not enjoy it or her performance, which felt like a faded copy of a role she’s played a lot recently, including in 2023’s Poor Things.

In the supporting actress category, I feel like there are no bad options of the three performances I’ve seen: Amy Madigan in Weapons(HBO Max, rent or purchase); Wunmi Mosaku forSinners (HBO Max, rent or purchase) and Teyana Taylor for One Battle After Another (HBO Max, rent or purchase).

I’m setting aside for a moment the two actress nominations for Sentimental Value, which I’ll catch up with when I see the movies nominated for International Feature Film. The movie also earned a supporting actor role. And, in the leading actor category, The Secret Agent, another international film nominee, got a nod.

Diving into the rest of lead actor nominations, I finally caught up with Richard Linklater’sBlue Moon (Netflix, rent or purchase), which received a nomination for Ethan Hawke’s performance as Lorenz Hart. I found Blue Moon thoroughly charming even though (or maybe because) it is self-consciously talky. Hawke is great as suffering chatterbox Hart, living through the nightmare that is longtime professional partner Richard Rodgers (Andrew Scott) getting raves on the opening night of Oklahoma!, his first production with Oscar Hammerstein II (Simon Delaney). Hart praises the musical, derides the musical, snobbily bemoans its popular aspects and begs Rodgers to do another brand new production with him. Through it all he bounces clever anecdotes off the bartender (Bobby Cannavale), the piano player (Jonah Lees) and fellow patron E.B. White (Patrick Kennedy). Hart is at Sardi’s, right where he shouldn’t be to endure all this but also maybe right where he can’t help but be. Among his disappointments is Elizabeth Weiland (Margaret Qualley), a 20-year-old Yale student attending the party who Hart is in love with? Or fascinated by? Or some other kind of tragic situation, that he seems to realize is doomed and yet still has a “but maybe?” hope about it. Hawke turns in a good performance bringing humanity to a character who could have been written off as a passive aggressive blowhard.

Speaking of aggressive aggressive blowhards, let’s talk Marty Supreme(rent or purchase). Directed and co-written by Josh Safdie, this movie has that Safdie brothers sweaty desperate energy that made Uncut Gems such a — not pleasure, exactly. Engaging cinematic panic attack, maybe? Here, while my gut “ugh, with this guy” reaction to Timothée Chalamet’s Marty Mouser, wanna-be table tennis star in the 1950s, didn’t really change throughout the movie I did warm to how good Chalamet was at being a jerk on the come up, whose single-minded graspiness has just enough of a spark of charm. He is a good table tennis player and he is horrible at everything else, including basic “being a human” things. He is a guy whose whole vibe is asking for money he will definitely never pay back. It shouldn’t shock Odessa A’zion’s Rachel, Marty’s sometimes situationship, when his immediate reaction to her pregnancy is something like “it’s not mine.”

Solid performances are also to be had from Fran Drescher as Marty’s mother, from Tyler the Creator and Luke Manley as Marty’s friends, from Gwyneth Paltrow as a 1930s film star trying to organize a theatrical comeback and even from, I guess, Kevin O’Leary, Mr. Wonderful himself, as Paltrow’s husband demonstrating a different kind of jerkishness from Marty’s.

Of the movies I’ve seen before, One Battle After Another also got nominations for Leonardo DiCaprio in lead (shrug, sure), and Benicio Del Toro (yay!) and Sean Penn (boo for this cartoon character) in supporting. I would be delighted to watch Michael B. Jordan win for his double performance in Sinners and Delroy Lindo win supporting for his role in that movie. And I didn’t dislike Frankenstein(Netflix) as much as many critics — it’s so pretty! — but c’mon with that Jacob Elordi supporting nomination (for the role of the Creature).

Dragon Cursed by Elise Kova

(Entangled Publishing, 464 pages)

It’s been a minute since I’ve been so enraptured with a book that I removed myself from real-life obligations to immerse myself in a different world, and I have no shame about the fact that the book that brought me to this magical place is a young adult novel. Dragon Cursed is in good company, living on the same shelves as The Hunger Games and Harry Potter.

My skepticism in starting this was less about the genre and more about whether I wanted to read another dragon-themed book, having recently read the non-YA Empyrean series by Rebecca Yarros and other dragon-adjacent books. I’m glad I didn’t let that stop me. Dragon Cursed is unique despite some typical tropes, and it’s fun, fast-paced and full of compelling characters. I loved the heroes and hated the villains — and I love that sometimes it was hard to know who was who.

This was only my second experience with an Elise Kova novel, but she’s published many fantasy/romance books and series for adults and young adults. Prior to this I listened to her most recent adult novel, Arcana Academy, on audiobook and really enjoyed it.

Dragon Cursed is set in Vinguard, where dragons are an eternal threat to the people. The main character, 18-year-old Isola, was deemed “Valor Reborn” at age 12 after she survived a face-to-face encounter with a dragon. She then spent six years training with the vicar of Vinguard, who pushed her to her limits, assuming she has the ability to battle the Elder Dragon, as Valor had done.

Isola doesn’t believe she’s Valor Reborn. She’s terrified that she’s actually dragon cursed.

Being dragon cursed means someday transforming into a dragon that can and will destroy anything and everything. To prevent this, every year Vinguard holds a Tribunal for all 18-year-olds.

“Every moment of this Tribunal is a test — a test to ensure that a dragon cursed does not draw breath within the walls of Vinguard,” the vicar says. If there are any signs that there’s a dragon within a tribute, he is killed by Mercy Knights, so called because it is seen as an act of mercy to kill someone before they become a beast.

Heading into the tribunal, Isola worries that every challenge she faces could out her as dragon cursed. She’s not alone, though. She’s there alongside her best friend, Saipha, as well as a few enemies who seem to dislike her because of the attention she’s received as Valor Reborn. And then there’s Lucan, a maybe enemy or maybe friend, who follows her as if he’s been assigned to watch her every move. Lucan was taken in by the vicar and is assumed to be his prodigy, but Lucan’s motives become less clear as he both hurts and helps Isola throughout the trials.

The “is he friend or foe?” trope of course paves the way to a simmering romance between Lucan and Isola. It’s PG, definitely YA appropriate, and just the right balance of frustrating tension, complicated feelings and tender moments.

My 17-year-old daughter just finished the Empyrean series and loved it — except for the rather explicit spicy scenes. So I gave her Dragon Cursed and assured her that it is full of action and drama and dragons, but way lighter on the intimacy.

One minor complaint: The use of magic was confusing at times. There were several instances during the trials where I thought, “Wait, what just happened?” I’m pretty new to the fantasy genre, though, so that could be my lack of understanding of how, for example, sigils work. Fantasy requires a fair amount of suspending disbelief anyway, so this didn’t impact my enjoyment.

Finally, one small pet peeve: the book jacket and promo materials call the human city “Vingard,” but throughout the book it’s “Vinguard.” The first edition of the book is so visually beautiful and the story so well-written that it’s a shame this was overlooked.

Regardless, Dragon Cursed is a fun, moderately suspenseful, lightly romantic addition to the ever-growing lineup of dragon tales. A

Featured Photo: Dragon Cursed by Elise Kova.

Stay in the loop!

Get FREE weekly briefs on local food, music,

arts, and more across southern New Hampshire!