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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

    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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