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    White Oak Music Hall Rocks the Night

    White Oak Music Hall's opening night a rocking start for primo new concert venue

    Eric Sandler
    Apr 12, 2016 | 10:00 am

    For anyone even remotely interested in art or music, Saturday offered an overwhelming array of choices. With the annual Art Car Parade and a Justin Bieber concert happening downtown, some might have missed the debut of the White Oak Music Hall, Houston’s newest concert venue.

    Located in the near northside neighborhood just north of downtown and east of the Heights, White Oak Music Hall sits on a five acre tract that contains three performance venues and the recently opened Raven Tower ice house.

    On Saturday, the venue debuted its 3,000-person outdoor lawn concert area with a sold-out show by French electronic act M83. The band’s high-energy set that drew heavily from breakthrough album Hurry Up, We’re Dreaming as well as the recently released Junk had the crowd dancing from pretty much start to finish.

    Beyond the music, the concert gave attendees the opportunity to assess White Oak’s future as a performance venue, and that experience went well, too.

    By the time gates opened at 7:00 pm, a long line snaked from the entrance gate to a pedestrian bridge over White Oak Bayou with people eager to snag either a prime spot to stand in front of the stage or a choice spot on the lawn-covered hill. Once attendees moved through they line, they found approximately 15 stands for purchasing beverages (wine, beer, cocktails, water, and soft drinks) as well as two food trucks (Waffle Bus and The Burger Joint).

    Prices are reasonable, at least by concert standards. Beers only cost $6 to $8, cocktails are $8, and wine is $7, which is far below what a venue like House of Blues charges. Lines moved relatively swiftly, as long as people kept ordering beer. They could bog down if, say, a couple of people in a row ordered four cocktails each to take to friends. The resulting lines for the porta potties moved a little more slowly, natch.

    More than the amenities, the venue served as an excellent way to attend a concert. Sight lines offered a clear view of the stage, and the sound arrived clearly without being overwhelmingly loud. Listeners who paid attention (as opposed to those who talked through the show) could distinguish vocals and individual instruments. With a slight breeze and pleasant spring weather, the concert offered the fun atmosphere of a summer festival without the risk of heat stroke.

    Despite the neighborhood’s concerns, parking didn’t seem to be much of a challenge for most people. The venue offers both close-in paid lots and a slightly farther away free lot that patrons could access via a foot path. Entrepreneurially-minded property owners charged $10 to $20 for cars in nearby surface lots.

    Getting out was a more time-consuming process, of course. The number of cars trying to leave the venue mixed with an influx of Uber drivers to create a bit of a quagmire. Perhaps stationing officers all the way to I-45 to keep traffic moving would help improve flow. Taking METRORail and walking over from the Quitman station is another possibility, as is waiting for traffic to die down at the Raven Tower.

    Overall, the White Oak Music Hall made a very successful debut, and it’s reputation will surely grow once the two interior performance spaces are completed. The neighborhood’s concerns about parking and noise will have to be managed, but the venue certainly feels like a place Houstonians will be partying for years to come.

    M83 performed at the newly opened White Oak Music Hall Saturday night.

    M83 White Oak Music Hall
    Photo by Jason Daring
    M83 performed at the newly opened White Oak Music Hall Saturday night.
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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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