Based on the book of the same title, Robert Kenner’s documentary turns its lens on the scientists used by major corporations to lobby against health and environmental reform.

The Amazing‘s last album was entitled Gentle Stream, and that title evokes the Swedish group’s aural aesthetic reasonably well. Their sound is unhurried, detailed, and most of all, incredibly beautiful.

Daniel Alfredson’s Kidnapping Mr. Heineken chronicles the famous abduction from the criminals’ point of view.

I Wasn’t Born to Lose You is the Oxford, England rock unit’s first full-length in 17 years, and while Swervedriver’s return hasn’t gotten the same level of ballyhoo as contemporaries such as Slowdive or Ride, it should.

Will Forte is living out a loner fantasy on FOX’s brilliant new sitcom, The Last Man on Earth. Forte is one of the most uniquely gifted comic actors to come out of Saturday Night Live in the last decade, so it is no surprise that his first lead role in a sitcom is also a wonderfully executed and original idea.

There’s something very plainly interesting about watching how Refn deals with various issues, from the pressures of following up Drive to the realization that Only God Forgives isn’t what he had hoped.

Of Montreal doesn’t give a shit about first impressions. Each album (out of a pretty dense discography, no less) is not only impossible to nail down and succinctly summarize, but also completely different in focus and sound than its predecessor.

As Everly, Salma Hayek gracefully pivots from desperate, trapped mouse to machine-gun-wielding angel of death, often in the same scene.

“Uptown Funk,” the first single off of Mark Ronson‘s new album Uptown Special, is a funk and Motown track, slickly bedazzled with the coolness of Bruno Mars’s attitude and style, and though the album as a whole doesn’t totally resemble that track inasmuch as a surface approach, it does seem to be indicative of this sonic painting of a particular time and landscape.