Released fifty years ago, no one expected Sergio Leone’s The Good, The Bad and The Ugly to become one of the defining films of the so-called “Spaghetti Western” genre.

U.K. art-pop quartet Everything Everything rightfully gained plenty of attention in 2015 for their bombastic third album Get to Heaven. It easily highlighted everything great about the band: propulsive dance grooves, quirky and creative instrumentation and chord progression, cleverly cutting lyrics, and frontman Jonathan Higgs’ powerful, unique vocals.

On April 30, 1980, six gunmen championing the cause of Arab national sovereignty charged the Iranian embassy in London and took the 26 people inside hostage.

Let’s be honest here. For most listeners, covers albums are often trite at worst and at best, are faithful reproductions of the work of the artists that they intend to pay tribute to. This applies as well as to many works like these, where an artist covers an album from start to finish.

A captivating, enjoyable look into the life of one of the more understated legends from the classical jazz era.

Half a century into our future, 86-year-old Marjorie (Lois Smith) sits across a room from her dead husband.

David Lynch has suggested that his work, which often eschews narrative sense, offers more to the viewer than they initially realize. What seems inscrutable may actually be made sense of deep within one’s brain, like the interpretation of a dream. Much of Grizzly Bear‘s recorded output invites a similar interpretation, and their fifth LP, Painted Ruins, is no different.

Brett Gelman plays an all-but-failed actor slipping headfirst into a midlife downward spiral.

Hopscotch does something different with its storytelling: it brings the audience along for the ride, effectively making the viewer an accomplice to the shenanigans at play.