Film Review: “Springsteen: Deliver Me From Nowhere”

Down and out in New Jersey: Bruce struggles—and so does the film

Bruce Springsteen (Jeremy Allen White, l.) talks with his manager, Jon Landau (Jeremy Strong).

Bruce Springsteen’s loyal longtime fans are bound to love the awkwardly-titled Springsteen: Deliver Me from Nowhere, but whether or not anyone else will is questionable. Those seeking a comprehensive biopic of the rock star in the vein of Rocketman (Elton John), Back to Black (Amy Winehouse), or Bohemian Rhapsody (Freddie Mercury) won’t find it here. Instead, based on the 2023 book Deliver Me From Nowhere: The Making of Bruce Springsteen’s Nebraska by Warren Zanes, the picture covers only one specific moment in Bruce’s life: the period when he wrote and recorded his 1982 album Nebraska. Continue reading “Film Review: “Springsteen: Deliver Me From Nowhere””

Film Review: “Frankenstein”

A thematically rich but visually mixed adaptation

Dr. Victor Frankenstein (Oscar Isaac) looks upon his creation in ‘Frankenstein.’

Director Guillermo Del Toro has been waiting to adapt Mary Shelley’s Frankenstein; or, The Modern Prometheus (that’s the full book title) ever since he saw the 1931 film Frankenstein at age eleven. His aspiration should come as no surprise to those familiar with his work — the gothic aesthetic and creature designs in his films have become synonymous with his name, like in Pan’s Labyrinth, Hellboy, and The Shape of Water. Del Toro has finally made his version of Frankenstein, produced and distributed by Netflix. The streaming company’s involvement may or may not have contributed to the film’s decision to include computer-generated (CG) animals, and imbue many of the film’s scenes with what I can only describe as a distracting “Netflix sheen.” The director’s devotion to the source text is commendable and gives the film a deeper emotional and philosophical resonance, even if the end result may baffle viewers unfamiliar with Shelley’s book. Continue reading “Film Review: “Frankenstein””

Film Review: “The Hand that Rocks the Cradle”

The beautiful modern house shines in this otherwise uninspired remake

Polly (Maika Monroe) and Caitlin (Mary Elizabeth Winstead) rock the cradle in ‘The Hand that Rocks the Cradle.’

Another 1990s thriller has been remade (see: Presumed Innocent; Fatal Attraction): the 1992 film The Hand that Rocks the Cradle. Stylishly directed by Michelle Garza Cervera (Marea Alta), the new The Hand that Rocks the Cradle is tense and atmospheric, but bears the brunt of its predictability and slow pace. The original film was wickedly outlandish, helping it achieve status over time as the quintessential “evil babysitter” movie. Unfortunately, the remake lacks the willingness to let loose. Continue reading “Film Review: “The Hand that Rocks the Cradle””

Film Review: “After the Hunt”

Top talent wasted in uninspired Ivy League drama

Yale graduate student Maggie (Ayo Edebiri) has a serious conversation with her professor, Alma (Julia Roberts).

Luca Guadagnino’s Call Me By Your Name earned the coveted #1 spot on my Top 10 List back in 2017, but none of his films since then have come close to that level of excellence. While last year’s Challengers was at least decently entertaining, Guadagnino’s newest, After the Hunt, is another disappointment. Continue reading “Film Review: “After the Hunt””

Single of the Week: “SYNESTHESIA” by Azam Ali

This song is such a lovely little jam. It’s big, it’s cinematic. It’s dark and bright at the same time.  It’s ethereal and a dance floor burner. I don’t really know what to feel with this song, and that’s what makes it so bloody great. “SYNESTHESIA” by Azam Ali is our single of the week, and all you need to know is that you should listen to this track. 

“SYNESTHESIA” is the second single off the album of the same name, and it’s coming your way on November 14th. Preorder here! 

Film Review: “Good Fortune”

Reeves, Rogen, and Ansari quest for wealth in this Capraesque comedy

Arj (Aziz Ansari) and Gabriel (Keanu Reeves) consult outside a Denny’s in ‘Good Fortune.’

Once again this year, audiences are invited to see a new comedy in theaters! Good Fortune is high-concept, taking the sentimentality of ‘30s and ‘40s era Frank Capra films (It Happened One Night; Mr. Smith Goes to Washington; It’s a Wonderful Life) and injecting a comical “what if” scenario and a modern-day setting. The film is also writer, actor, and comedian Aziz Ansari’s feature-length directorial debut. Using Good Fortune’s twist on fate and wealth, Ansari primarily explores the demoralizing nature of gig work and how it perpetuates economic inequality. Good Fortune doesn’t shed new light on existing problems, nor does it offer a realistic solution, but the film’s blunt jokiness and the unexpectedly winning trio at the film’s center give it wings. Continue reading “Film Review: “Good Fortune””

Film Review: “If I Had Legs I’d Kick You”

A spiraling mental journey into motherly affliction

Linda (Rose Byrne) can’t sleep in ‘If I Had Legs I’d Kick You.’

Can a film be simultaneously very good and also excruciatingly stressful to watch? Yes, I think so! Unpleasant viewing experiences can either be earned or unearned (read: purposeful or not on purpose). Mary Bronstein’s new film, If I Had Legs I’d Kick You, falls into the former category. A fraught tale delivered with sensory bombast and utilizing a powerhouse performance by Rose Byrne, If I Had Legs I’d Kick You is a siren song to motherhood. Continue reading “Film Review: “If I Had Legs I’d Kick You””

Show Review: Highlights of Aftershock 2025!

Review by:
Alan Ralph @ConcertGoingPro and Emily Anderson @emilyphotoadventure

Photos by:
Alan Ralph @ConcertGoingPro unless otherwise stated

Nearly one year ago, at the very end of Spinning Platters’ Aftershock 2024 review, this question was raised: “West Coast’s Biggest Rock Festival had such a stellar lineup this year, HOW are they possibly going to outdo themselves in 2025?!?!” 

If one hundred people were asked if 2025 was better than 2024, there would undoubtedly be one hundred different answers and opinions. Aftershock 2024 was so exceptionally good and a heavy metal fan’s wet dream – Iron Maiden, Judas Priest, Slayer, Pantera, Slipknot, Mastodon, Anthrax, Clutch, Ministry, Body Count and more! Fans of other genres of rock, punk, and loud music were still out in force, as Aftershock 2024 set an attendance record of 40,000 people per day, but may have felt neglected by the sheer amount of metal that closed every night of the festival.

For the 13th annual Aftershock in 2025, promoter Danny Wimmer Presents (DWP) altered the overall lineup to cater to the rest of those fans while still appealing to the heavy metal fans, by combining every Warped Tour, Ozzfest and Rockstar Mayhem Festival lineup, put it all in a blender, and poured it in a tall glass of Discovery Park for four days of the best rock, alt-rock, metal, 2000’s nu-metal, hardcore, and pop-punk bands, all in one place at one time in the outskirts of downtown Sacramento!  

Continue reading “Show Review: Highlights of Aftershock 2025!”

Film Review: “Urchin”

Dickinson portrays the unhoused in his thoughtful debut

Mike (Frank Dillane) takes in a good moment in “Urchin.”

Harris Dickinson (Babygirl) is in the director’s chair for the first time with Urchin, an intimate and at times surreal exploration of homelessness in the UK. Urchin comes at an interesting time in Dickinson’s career. As an actor, Dickinson is experiencing a surge in popularity and recognition (Triangle of Sadness, The Iron Claw, and will play John Lennon in Sam Mendes’ upcoming Beatles biopic), so switching gears to a directorial assignment (he also wrote Urchin’s screenplay and has a small supporting role in it) is an interesting choice. Nevertheless, Dickinson must have felt strongly about this particular project, since the care he shows towards the characters and the film’s technical aspects are unmistakable. Urchin is a timely character study about those left behind in society, an unflinching directorial debut, and a special showcase for its central star. Continue reading “Film Review: “Urchin””

Film Review: “Fairyland”

San Francisco-set dramatization one of year’s best

Alysia (Emilia Jones) shares a moment with her dad, Steve (Scoot McNairy).

One of the best movies of the year opens today, and it also happens to be a quintessential San Francisco film that a smart theater programmer (Roxie? Vogue?) might put on a double bill with the award-winning 2008 Harvey Milk biopic Milk. Also based on a true story, Fairyland similarly captures a time and place in San Francisco history that makes the personal political and vice versa. Continue reading “Film Review: “Fairyland””