Three Kings Public House, a bar and grill across the street from the Tivoli Theatre, offers filling fare served with smiles in a handsome space. However, the pub lacks any attribute that makes it noteworthy.
It’s officially the beginning of the end: “Harry Potter and the Deathly Hallows: Part 1,” the first part of the last movie in the Harry Potter series. The end is near, and Harry (Daniel Radcliffe) is trying to destroy all parts of his nemesis Lord Voldemort’s soul.
“Morning Glory” begins with a firing. Becky (Rachel McAdams), a loyal producer on a local affiliate’s morning show, is unceremoniously dumped. All doom and gloom, her mom tells her that since she’s 28 years old, her dream of becoming a television producer is basically over. Five minutes later, Jerry Barnes (Jeff Goldblum) of IBS is on the horn and offers her a job to executive produce the network’s embarrassment of a morning show, “DayBreak.”
I will say this: Jackass knows exactly what it is. If you liked the first two movies, you’ll probably like this one, too. It’s not highbrow or complicated, and it doesn’t try to be.
Metro STL is a simple, useful app, but it isn’t ambitious enough. At a very basic level, it has what you’d expect in a MetroLink app.
Bad Religion is back, serving up another helping of their signature politicized punk rock. The first track, “The Day That the Earth Stalled,” wouldn’t have sounded out of place on either of Bad Religion’s past two albums, giving rise to fears that they may be stuck in a rut. Fortunately, the rest of the record lays those fears to rest.
[rating stars=3] Despite their chronology-averse moniker, No Age seems to be going through their awkward adolescent phase. This L.A. noise-punk duo strives for a more mature sound but refuses to fully abandon the youthful recklessness of their previous work, resulting in a batch of songs stuck in a tepid middle ground.
[rating stars=4.5]With lyrics like “I will pretend to be asleep so that no one will notice me,” Fake Problems might sound like a downer band if they didn’t have what is perhaps the jauntiest of jaunty guitar licks around.
It’s easy to hate on “Chrono Cross,” the much-anticipated follow-up to “Chrono Trigger”. Its story was clumsily told, diluted between too many characters, and it threw in one confusing twist too many. Yet as the years have passed since its release, these same idiosyncrasies have made “Chrono Cross” as much of a classic as “Chrono Trigger”.
On “Lisbon,” The Walkmen embrace and celebrate the melancholy and longing that flowed throughout 2008’s elegiac downer, “You & Me.” These NYC indie-rock veterans have always leaned towards the darker side, but “Lisbon” flirts with feelings of happiness and contentment.