I want you to listen as hard as you can.
If Trent Reznor and David Fincher couldn’t make Facebook cool, then it was probably beyond hope.
Wherein one of the most interesting films of the decade spawns some of the least interesting trends.
It’s a workplace dramedy, and the workplace is “heroin addiction.”
The most conservative backdrop for a TV show gets some indie rock.
This film may have served as quirk’s (temporary) death rattle.
This film has an appearance by an ageless Paul Rudd and a soundtrack with Radiohead. It’s very blessed.
Music is Anderson’s second-biggest calling card. Next to his unabashed love of the Futura font.
If it wasn’t for the music, this would be a far more disturbing film.
Maybe this movie was so good it could have made any collection of songs popular.
What probably stemmed from a focus group of teenage boys turned into a pretty strong anthology.
This soundtrack is the musical equivalent of wrapping a chenille blanket around someone, handing them some tea, and repeating softly, “We’re all in this together, and you’re doing great.”
In which Zach Braff uses indie rock in an attempt to make morose whining cool.
May he’ll play some cowardly liberal this time around.
The movie and soundtrack have something to offer, provided you can get past the painful triple-pun title.
It’s the satin jacket of soundtracks.
Any movie that has Adam Sandler and a ukelele on the poster might as well be marked with a skull and crossbones.
You must REALLY like alcohol if you’re willing to these places.
I hate it when good things happen to bad movies.
If you’ve read the track listing, you’ve experienced the album the way the director intended.
The fastest way to legitimize a genre of music? Have Cameron Crowe make a movie about it.
Good guys acting bad.
Ask yourself: Would you want to trade places with any of these folks?
Two non-remakes, non-adaptations, or non-sequels grace the list.
The future’s not alway coming up roses.
Dress for success…
My only friend, the end.