That's My Dad.

Regina Spektor - What We Saw From the Cheap Seats

Come at last a return to quirky form for beloved indie piano-ballad queen Regina Spektor, “What We Saw From the Cheap Seats” brings the glistening, uncanny poetry and beguiling emotional musings known on classic Spektor records like “Soviet Kitsch” and “Begin to Hope”. But after a decade of being the youthful charmer in the anti-folk scene, age tends to take a toll on an artist’s bank of ideas and song-writing skill. The opening three songs (“Small Town Moon”, “Oh Marcello” and “Don’t Leave Me”) recall her nearly forgotten trademark ability to make eclectic and unorthodox pop tunes. Even tracks like “Firewood” and “Jessica” are undeniably captivating and relaxing ballads with solemn charm and illustrative lyrics. The other half of the album and a handful of her bizarre sonic experiments and arrangements result unsuccessfully. Much of what makes this an incomplete record come from lack of innovation. Even on more proper moments like tracks “How” and “The Party”, Spektor poorly treats her compositions with nearly forced and gimmicky emotion, leaving the songs to be inevitably pigeon-holed as uninspired rubbish. It’s hard to appreciate “What We Saw From the Cheap Seats” as a whole; even for its inconsistencies, Spektor’s musical abilities lack her youthful finesse and high-ranged song-writing chops. (6/10)

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To Rome With Love - 

Woody Allen’s “To Rome With Love” fails to create the same nostalgic and charming atmosphere that won audiences and critics alike in Allen’s last movie, “Midnight in Paris.” Such an all-star cast can’t seem to save the movie from its poorly written and disconnected plot lines, all sprinkled in with the most basic and simplistic of humor. All in all, the movie feels like Allen attempted to weave a few ideas together as though to try and top “Paris,” and instead, haphazardly produced a film crowded with too many characters and not enough appeal. (5/10)

- Guest Writer: Catherine Saba (Follow her on Tumblr and Twitter) 

Norah Jones - Little Broken Hearts

It kind of sucks that Norah Jones consistently remains overshadowed by the success of her 2002 Grammy-winning debut jazz masterpiece: “Come Away With Me.” Hard to think but a whole decade has past and Norah has come out four albums, each of which successfully collected dust on the shelves of every Starbucks and Barnes & Noble nationwide. This is not to say Norah, post-2002, took a nosedive and started making atrocious music; it’s just that she seemed to be the only person who thought moving away from jazz was remotely a good idea. Since then, she’s quietly transcended into a more down-tempo pop style that lacked any repeat value and served as a textbook example of sub-par art.

Alas, let bygones be bygones, it’s 2012 and she’s here with her 5th album: “Little Broken Hearts,” a full-fledged singer-songwriter based pop album that makes no apologies about it’s identity. Produced by the marvelous Danger Mouse and heavily echoing the style of their previous collaboration on the album “Rome,” it’s clear Norah’s given her blandish efforts a much needed kick in the head. “Little Broken Hearts” is not “Come Away From Me” however; far from it really. This is a mild, dark and bitter record that requires your attention for it’s charm to come near. Each track comes packed with a catchy, honey-sweet hook, retro-pop sounds and a new element or texture to Norah’s voice; features that win you over, shooing away clouds of past negative proclivities about Norah. ”Little Broken Hearts” might not leave much of a heavy impression like Norah’s previous three albums, but it’s nice to see her fully realized in her new directions; call it a glimmer of hope in a former legend. (7/10)

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You may wonder why Martin Scorsese decided to direct a children’s film; funny story about that. Scorsese’s daughter Francesca asked him “Why don’t you make movies that people actually wanna watch?” So Papa Scorsese, gangster-film aficionado, decides makes a film adaptation of children’s book “The Invention of Hugo Cabret”. This is Hugo.

Structured as a period piece, designed for families and dedicated to the history and magic of film, Hugo proves proves be a masterful work of storytelling. Scorsese proves an abundance of craftsmanship with releasing this film. By stepping way out of his comfort zone, he’s reassured the fact that regardless or genre, subject matter or style, the man can make a damn good film. Hugo takes many risks in a conventional American context all while still perfecting every aspect of filmmaking. The use of 3D produce imaginative and artful results, which is an art form heavily misused and undermined in the past decade. There are remarkable performances from Hugo’s entire cast: child actor Asa Butterfield plays Hugo Cabret with a striking deepness that goes far beyond his years. Ben Kingsley and Sacha Baron Cohen bring their best and expand their repertoire with their respective roles. Scorsese enforces an immaculate form of discipline in directing Hugo. This is a film that leaps with creativity and glistens with beauty. Hugo honors the art of storytelling and film-making, the importance in moral perseverance and mot importantly, the rise of the human spirit. There couldn’t possibly more to ask from a children’s tale; without question, Hugo can be deemed a modern classic.

If Dickens were a filmmaker, he’d wish he directed this film.

This film was my dad. (5/5)