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    Live Music Now

    These are the 5 best concerts to catch in Houston this week

    Johnston Farrow
    Johnston Farrow
    Jun 26, 2018 | 1:21 pm

    Torq, Shakey, Francis, Rivers, David, and Willie — these names will grace Houston stages this week as we head towards the Fourth of July holiday week (and Canada Day for H-town’s many ex-pats). Here are this week’s best shows.

    Shimmering Stars
    No other indie band since The Smiths has been able to capture romantic melancholy quite like Canadian band Stars. The group is one of the most revered cult acts in music today, one of the many offshoots of Toronto’s massive rock collective Broken Social Scene. However, Stars has been much more prolific than that band, consistently producing good-to-great albums since the early-2000s that have won a place in the hearts of indie-rock fans everywhere, most notably with the mid-aughts masterpiece, Set Yourself on Fire. Their latest, There is No Love in Flourescent Light, is one of their best. They are not to be missed in a live setting as the interplay between co-lead singers Torquil Campbell and Amy Millan is a thing of beauty.

    Stars bring their magic to White Oak Music Hall, located at 2915 N Main St., on Wednesday, June 27. A.J. Lambert opens. Tickets are $18 in advance, plus a $8.06 service fee. Doors open at 7 pm.

    #MeToo: A show not to see
    R&B/hip-hop loser Chris Brown is at Cynthia Woods Mitchell Pavilion on Thursday, June 28. Don’t go to this show. Seriously. The guy is garbage.

    CultureMap Recommends: Pixies and Weezer in the Woodlands
    This could have easily been the best tour of 1995, but instead, this will be a nostalgic trip to a time when crunchy guitars dominated the top of the charts. Both Pixies and Weezer have made a resurgence of late. The Boston-based Pixies, led by Frank Black — aka Black Francis — reunited after a long hiatus in 2014 and have largely been on the road ever since, reminding kids everywhere why they were so influential on grunge-era acts like Nirvana, playing cuts from their masterworks, Surfer Rosa and Doolittle, among others.

    Weezer really never went away and seem to be on the radio every other year with some alt-rock nugget, although let’s face it — the Rivers Cuomo-fronted band will never reach the heights of the much beloved Blue Album and Pinkerton. This will still be a great show regardless of either band’s current relevance.

    Pixies and Weezer co-headline the Cynthia Woods Mitchell Pavilion, located at 2005 Lake Robbins Dr. in The Woodlands, on Friday, June 29. The great U.K. band The Wombats opens. Tickets start at $25 in advance for lawn seating, $39.50 for reserved seats plus service fees. Gates open at 6:30 pm.

    Shakey Graves rattles and rolls
    Catchy and handsome Austin rootsy-rocker Shakey Graves will play a special lawn show at White Oak this Friday, which is always a cause to celebrate since the venue secured such shows for the foreseeable future following a much talked about lawsuit with its neighbors. Graves gained notoriety for his 2014 album, And the War Came, and its subsequent, extensive tour schedule that found him on late night TV shows. He just released a new album, Can’t Wake Up, along with the super cute, hair metal throwback video for “Kids These Days.”

    Shakey Graves plays the lawn at White Oak Music Hall, located at 2915 N Main St., on Friday, June 29. Paul Cauthen opens. Tickets are $25 in advance plus a $10.08 service charge. Gates open at 7 pm.

    Down and Dirty Projectors
    One of the more buzzed about acts in indie-rock over the last decade, Dirty Projectors, return to the live stage with a new look and sound. Always a revolving door of musicians for songwriter David Longstreth, the lineup is different following the departure of core member (and Longstreth’s ex) Amber Coffman. His band will release their new album, Lamp Lit Prose, on July 13, a lighter affair than the previous, self-titled break-up album. Fans will get a preview when they hit White Oak this weekend.

    Dirty Projectors play White Oak Music Hall, located at 2915 N Main St., on Saturday, June 30. Still Woozy opens. Tickets are $25 plus a $10.08 service charge. Doors open at 8 pm.

    CultureMap Show of the Week: Willie's Outlaw Music Festival
    Country legend Willie Nelson’s ultra-successful Outlaw Music Festival wraps up at Cynthia Woods Mitchell Pavilion, bringing an eclectic line-up of acts, including alt-country singer Sturgill Simpson, alt-rock band The Head and the Heart, folk rockers Edie Brickell, rock group The Wild Feathers and more. This show will be followed up by the Willie Nelson Picnic in Austin on the Fourth of July. Thankfully, we’ll get a chance to see the laid-back songwriter before the holiday. Click here for more info.

    The Outlaw Music Festival goes down at the Cynthia Woods Mitchell Pavilion, located at 2005 Lake Robbins Dr. in The Woodlands, Sunday, July 1. Tickets start at $35 for lawn seating plus service fees, $69.50 plus fees for reserved seating. Gates open at 2 pm.

    Willie Nelson's Outlaw Music Festival hits the Cynthia Woods Mitchell Pavilion on Sunday, July 1.

    Willie Nelson
    Photo by Limelight Imaging
    Willie Nelson's Outlaw Music Festival hits the Cynthia Woods Mitchell Pavilion on Sunday, July 1.
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    Movie review

    Messy Frankenstein movie The Bride! stitches camp and confusion

    Alex Bentley
    Mar 9, 2026 | 3:45 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

    moviesfilmmaggie gyllenhaalannette beningchristian balejessie buckleypeter sarsgaardpenélope cruzmovie review
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