Ben Stiller’s adaptation of James Thurber’s beloved short story wastes its source material.

I confess, earlier this year I was a little worried about Donald Glover, the uber-talent behind Childish Gambino. In less than five years, Glover has gone from wunderkind television writer, to an up-and-coming stand-up comedian, to a lead role on a hip sitcom, and now a defiant hip-hop artist.

If 2011 was the year of dubstep and 2012 the year when EDM decided to rear its head at every single opportunity, then what was the defining music sound of 2013? There’s certainly a strong argument to be made that it’s the year psych and drone rock left the coattails of Melody’s Echo Chamber and Tame Impala and took off by itself.

Critics often dismiss Much Ado About Nothing as one of Shakespeare’s most lightweight works. Joss Whedon’s (The Avengers, Buffy the Vampire Slayer) adaptation will do nothing to dissuade this opinion.

There are some clever individual ideas in UXB, and some imaginative, absorbing, and disturbing visuals from creator/writer/artist Colin Lorimer, but, as a complete package, it’s a tough sell.

Arbor (Conner Chapman) and Swifty (Shaun Thomas) are adolescent best friends and co-conspirators in poverty.

Forget about that other big-budget extravaganza covering the same territory: Tobias Lindholm’s A Hijacking is a tenser, more credibly harrowing account of a Somali pirate takeover, and one that packs a bigger emotional punch to boot.

When listening to Lily & Madeleine, it’s difficult to believe these sisters from Indiana are still teenagers.

With Upset, former Vivian Girls and Best Coast drummer Ali Koehler picks up her guitar and enlists the help of Hole’s Patty Schemel—and the result is exactly what you’d hope for.