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    Pop Punk Heroes

    Revitalized Blink-182 revs up RodeoHouston crowd with pop-punk energy

    Johnston Farrow
    Johnston Farrow
    Mar 24, 2017 | 5:45 am

    San Diego’s Blink-182 rolled into NRG Stadium on Thursday night and brought a workmanlike attitude to their hour-long set of classic pop-punk tunes at RodeoHouston, a change of pace from the country-heavy lineup over the last few weeks. The band attracted one of the younger Rodeo audiences, comprised of a large number of attendees who grew up on the trio’s hits from the late '90s and early 2000s. Walking through the concourse before the show it was clear that fans had come out specifically to see their punk heroes as many of them were wearing official band T-shirts and hair colors every shade of hot neon.

    Like Green Day, who played the Toyota Center a few weeks ago, Blink-182 is in the middle of a resurgence thanks to their best album in 15 years, California, which hit No. 1 last year. It’s one of seven Top 10 albums in the band’s career, contributing to over 50 million album sales worldwide.

    The trio comprised of bassist-singer Mark Hoppus, newly acquired guitarist-singer Matt Skiba (formerly of Alkaline Trio), and drummer Travis Barker, stuck to their most popular albums — a strong showing for the aforementioned California, as well as familiar tunes from 1999’s Enema of the State, 2001's Take Off Your Pants and Jacket, and songs from the 2003 self-titled set, neglecting anything from the darker Neighborhoods from 2011.

    The band kicked things off with a sweet fireworks display, in front of a crowd of 65,567, with “Feeling This.” Unfortunately, it took a few songs to find a good mix in sound quality, the drums drowning out melodic guitar hooks in the cavernous acoustics of NRG. Enema of the State single “What’s My Age Again?” brought the biggest cheers early on, with Hoppus asking afterwards, “So, how are the Texans going to do this season?” to even louder applause. “Alright, we’ll see,” he shrugged, perhaps knowing full well this team is without a starting quarterback.

    Barker got the girls screaming a few songs in when he took his shirt off to reveal a full set of tattoos, something one likely won’t see on any of the country-themed nights. A word about Barker: he’s a dynamo and simply one of the most exciting drummers to watch in any genre of music. Not that Hoppus and Skiba are slouches, it’s that Blink-182 wouldn’t be as successful or exciting without the innovative and expert timekeeping Barker brings to the table, elevating the band’s brand of adolescent flavored punk to level of mainstream respect. Throughout the night, his drum fills and solos were a joy to behold.

    Crowd interaction was minimal throughout the evening, with only Hoppus leaving the confines of his spot on the stage during songs when he wasn’t responsible for vocals. The best performances came on tracks from California, which makes perfect sense, as it is the only album with this current lineup. Skiba recently replaced former guitarist-vocalist Tom DeLonge, who quit to write books about UFOs (no, really). Songs that DeLonge would normally take vocal lead on were the ones that suffered, Skiba not having the range.

    Where the band did succeed was in playing the big hits, which got the crowd on its feet, singing along. Staples like “Rock Show,” “I Miss You,” and “All The Small Things” were met with thunderous applause. For a band that is known for its sophomoric humor, it refrained from any swearing, likely a contractual obligation of appearing at a family-oriented event like RodeoHouston. Hoppus even left out a key F-word during set closer “Dammit,” the audience more than happy to fill in the blank.

    Despite middling sound quality, Blink-182 proved they belong at RodeoHouston alongside hit makers of other genres. Once again, the talent bookers deserve credit for taking chances with their programming, proving that catering to fans of all musical tastes throughout the three-week event is a recipe for success.

    Setlist:
    Feeling This
    Rock Show
    Cynical
    Anthem Part 2
    What’s My Age Again?
    First Date
    Bored To Death
    Down
    I Miss You
    Dumpweed
    She’s Out Of Her Mind
    Violence
    Sober
    Carousel
    Los Angeles
    All The Small Things
    Brohemian Rhapsody
    Dammit

    Blink-182 is in the middle of a resurgence thanks to their best album in 15 years, in California, which hit No. 1 last year.

    Blink 182 at RodeoHouston
    Photo courtesy of Houston Livestock Show and Rodeo
    Blink-182 is in the middle of a resurgence thanks to their best album in 15 years, in California, which hit No. 1 last year.
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    Movie Review

    New horror movie Faces of Death puts a modern twist on cult classic

    Alex Bentley
    Apr 10, 2026 | 4:00 pm
    Dacre Montgomery in Faces of Death
    Photo courtesy of of IFC Films
    Dacre Montgomery in Faces of Death.

    True horror fans will likely be familiar with the 1978 cult film Faces of Death, which purported to be a documentary showing real-life killings in gory detail. It didn’t, of course, but that didn’t stop rumors from continuing to spread for decades. Now, almost 50 years and multiple sequels later, comes a new version of Faces of Death, an actual movie that pays homage to the original in interesting ways.

    Margot (Barbie Ferreira) works at a YouTube-like company called Kino as a content moderator, flagging videos that violate the company’s policies. This means her job often involves seeing some truly despicable things from all manner of depraved people. One day, though, she comes across a video that seems a little too real, and after seeing more similar videos, she starts to believe they’re genuine murders.

    Going against her company NDA, she starts to investigate the videos on her own, which puts her on the radar of Arthur (Dacre Montgomery), who is actually kidnapping people and killing them on camera through methods seen in the original Faces of Death film. It’s not long before Arthur tracks her down, with a plan to make her one of his next victims.

    Written and directed by Daniel Goldhaber (How to Blow Up a Pipeline) and co-written by Isa Mazzei, the film is not so much scary as it is creepy, with the occasional gross-out sequence. The idea of having someone emulate the killings in the cult film is a good idea, and pairing it with the modern-day attention economy — in which content creators go to increasing lengths for clicks — is a clever twist on a concept that other films have done.

    The film as a whole is a commentary on how social media and video sharing sites have often decided to prioritize profits over the well-being of their users. Margot is shown allowing videos involving violence and sexual assault to stay on the site while nixing ones depicting how to use Narcan or demonstrating putting on a condom on a banana. Josh (Jermaine Fowler), Margot’s boss, is even explicit in the company mandate that outrageous videos drive views.

    While Arthur has the makings of a good villain, there are few attempts to make him seem truly diabolical. His kidnappings often seem more spur-of-the-moment than calculated, and even though he has a well thought-out dungeon at home, the house’s location in the suburbs seems to make him vulnerable to easy discovery. Goldhaber and Mazzei leave more than a few unanswered questions along the way that take away from the intensity of the story.

    Ferreira is yet another actor from Euphoria who’s capitalizing on her exposure from that show. She plays Margot’s increasing anxiety well, and when the action ratchets up in the final act, she meets the moment in a satisfying way. Montgomery returns to the vibe he had while playing the evil Billy on Stranger Things, and even though his character doesn’t fully live up to his potential, Montgomery sells his evil for all it’s worth.

    The new Faces of Death may not be what some are expecting given the reputation of the previous films, but it’s a solid horror/thriller that uses the brand as a launching pad into something different. It doesn’t make much of a dent in the scare department, but it does give its violence and gore a degree of relevance in today’s often desensitized world.

    ---

    Faces of Death is now playing in theaters.

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