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    Music Matters

    Concert Picks of the Week Nov. 5

    Michael D. Clark
    Nov 5, 2009 | 7:00 am
    • AC/DC
    • The Flatlanders
    • Third Eye Blind in concert
    • Regina Spektor

    How lucky we are to be in Houston, where the greatest bands in the world routinely make stops to sell their sonic wares to the two million-plus music-loving locals. (That’s a lot of potential T-shirt sales.) Trying to choose the best live music of the week in, say, Provo, Utah makes for a very short list.

    With Houston’s lush landscape of choices, the only problem is narrowing it down to “the best.” With apologies to noise noodlers Galactic (tonight at Warehouse Live) and Japanese punk chicks Shonen Knife (Saturday, November 7 at Numbers), here are my picks for the week.

    Friday

    The Flatlanders at Fitzgerald's

    This show is the perfect marriage between two beloved Texas traditions. Fitzgerald’s — currently celebrating its 31st year of the rocking the Heights — hosts Texas super group The Flatlanders. The group began playing together 37 years ago, but don’t let their longevity fool you.

    When road-hard troubadours like Joe Ely, Jimmie Dale Gilmore and Butch Hancock step into a bar room, the only thing missing is Ennio Morricone Spaghetti Western theme and the ensuing gunfight. Instead, the trio will shoot through a set of alt-country stomps and campfire ballads, including cuts from new album “Hills and Valleys.” That’s sure to have the old outdoor patio at Fitz’s vibrating to the point of near-collapse.

    Tickets $25.

    Third Eye Blind at Verizon Wireless Theater

    When West coast rockers Third Eye Blind played Houston last summer, singer Stephan Jenkins cryptically announced that several songs from that House of Blues show were being recorded to be used as live “B-Sides” to promote a new album. Well, new album, “Ursa Major” has now been released, but we have yet to hear any of these Houston produced live tracks.

    The change in promotional direction did not stop “Ursa Major” from debuting at No. 3 on the Billboard 200 album charts, the highest climb in Third Eye Blind’s 12-year recording career. At this show, get acquainted with the new singles “Don’t Believe A Word” and “Bonfire"and reacquainted with past favorites like “Semi-Charmed Life” and “Jumper."

    Rumor is that Third Eye Blind is already planning a follow-up album called “Ursa Minor” made up songs that didn’t fit on “Ursa Major.” Perhaps they’ll be recording live tracks at this show to use as “B-Sides” for the upcoming singles (wink wink).

    Tickets $27.50.

    Sunday

    AC/DC at Toyota Center

    When the meteor finally hits and the surface of the Earth is ravaged by plague, pestilence and fire, all that will remain to restart society are the roaches and AC/DC guitarist Angus Young. He’ll be spinning around in his typical school boy frenzy just waiting for someone to reconnect the electricity so he can plug in and rock.

    If heavy metal hasn’t already killed Australian’s number musical export, then it’s a safe bet nothing can. After 36 years, more than 200 million albums sold internationally and the death of original lead singer Bon Scott, it appears that AC/DC have finally gotten warmed up.

    Most recent studio album, “Black Ice,” is arguably the most artistically satisfying of its career. Stripping away the pandering sexually-tinged anthems of past, the band went into the studio and made a masterful head-banging mix of blues-n-brawn that shot straight to top of the album charts in countries across the globe (including the United States).

    Proof that sex sells, but a fine guitar lick can leave you smoking at the end as well.

    Tickets $49.50-$89.50.

    Tuesday

    Regina Spektor at Verizon Wireless Theater

    I swear I read that Regina Spektor was born to a musical family and was a piano prodigy as a young girl from the Bronx via Moscow. And that she studied the classics at fine schools like the Manhattan School Music, but her mind kept wandering toward rock, punk and hip hop. Then, finally, that Spektor gained a live following playing NYC clubs and coffeehouses that welcomed singer-songwriters with a weakness for Ernest Hemingway and Ezra Pound.

    And, then it hit me: I fell in love with Spektor 15 years ago — only back when her name was Tori Amos.

    Then I listened to a couple of the soft, melodic piano tracks from Spektor’s latest album,”Far,” and I started seriously crushin’ on her (and Amos) all over again.

    Tickets $25.00-$30.00.

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    Movie Review

    Over-the-top thriller The Housemaid revels in camp, chaos, and excess

    Alex Bentley
    Dec 22, 2025 | 6:00 am
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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