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    RodeoHouston 2018

    Keith Urban charms crowd, spreads Lone Star love during fiery RodeoHouston set

    Johnston Farrow
    Johnston Farrow
    Mar 16, 2018 | 6:02 am
    Keith Urban Rodeo Houston singing
    Country superstar Keith Urban made the most of the RodeoHouston stage.
    Photo courtesy of RodeoHouston

    Country superstar Keith Urban may have played a shorter set than some of the other acts at RodeoHouston, but he was worth the price of admission in an entertaining display of charismatic showmanship in front of 72,000 at NRG Stadium on March 15.

    The Australia-raised performer only played 10 tracks at RodeoHouston, his first appearance since 2016, but he made the most of his time, giving the fans mostly hits that he’s known for: contagious hooks and killer rock guitar riffs with just enough twang to call it country. For real, though — the man can shred a Fender Telecaster with the best of them.

    He and his four-piece backing band opened up with three cuts from No. 1 U.S. chart-topping album, Fuse, the first being the big hooks of “Somewhere In My Car.” Dressed in a designer shirt and jeans, tattoos clearly displayed, and a perfectly coiffed haircut that wouldn’t look out of place in a Def Leppard cover band, Urban didn’t say much until the end of Fuse deep cut, “Good Thing,” with its guitar licks straight from a KISS concert. Following the song, he let out a big whoop, acknowledging the party was in full throttle.

    That kicked into the catchy “Little Bit of Everything,” set to a hip-hop beat and a sweet harmonized chorus. Next up was the premiere of brand new song, that will likely be included on his upcoming new album with the working title, Graffiti U.

    “We have a new album that we are working on right now that we’ll be coming out with soon and we have a song that we should do here tonight,” Urban said. “It’s called ‘Texas Time,’ so if we should premiere it anywhere, it should be here in Houston, Texas.”

    An almost surefire future hit about missing country living, and more specifically, Texas living, it sounded like a '70s Elton John track. In other words, it’s a crossover pop banger waiting to happen — disco crossed with a C&W twinge, set to a four-to-the-floor stomp.

    Crowd favorite “Blue Ain’t Your Color” had a synth riff lifted almost straight from fellow Aussie band INXS’ greatest ballad, “Never Tear Us Apart.” Carrie Underwood duet “The Fighter” was good, clean, country-pop with even more disco flourishes despite an unsynchronized video of her singing being one of the very few mistakes of the evening.

    “This is the seventh time we’ve played right here,” acknowledged Urban during the show. And, unlike RodeoHouston rookies OneRepublic the night before, his veteran status was apparent throughout as he expertly drew the audience in, perhaps making better use of the Stars Over Texas stage than any other performer this year.

    One such moment came during a rendition of top 10 hit, “Raise ‘Em Up,” when Urban walked to one of the stage’s distinct five points and played an lengthy guitar solo as it, ahem, raised him up into the air, improvising lyrics on the fly to huge ovation, including words from "Deep in the Heart of Texas":

    “Houston you have no idea how much I love playing here every time/There’s 72,000 people in here and it feels like it’s just you and I.”

    Urban also got even more close and personal, interacting with the crowd during 2002 No. 1 hit, “Somebody Like You” (the only song he performed that was released before 2010), jumping off the stage to shake hands with the first row before climbing up onto a box next to the seating rail at what would be the Texan’s 50-yard-line. It was there he got the crowd singing along with him, before proceeding to melt the faces off of those in that section with another superb guitar solo.

    Urban’s command of the audience, the overall musicianship, screen visuals, and use of the unique stage design undeniably made this one of the better shows at RodeoHouston this year.

    After an extended version of 2016 hit, “Wasted Time,” Urban wrapped up the proceedings, letting everyone know, “We’ll be back for No. 8!” It’s a promise thousands of ecstatic fans hope he keeps.

    Keith Urban Setlist
    “Somewhere In My Car”
    “Good Thing”
    “Little Bit of Everything”
    “Texas Time” (new song)
    “Blue Ain’t Your Color”
    “The Fighter” featuring Carrie Underwood
    “Raise ‘Em Up”Deep In The Heart Of Texas”
    “Long Hot Summer”
    “Somebody Like You”
    “Wasted Time”

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    Movie Review

    Final Destination: Bloodlines reboots cult favorite horror franchise

    Alex Bentley
    May 15, 2025 | 4:30 pm
    Kaitlyn Santa Juana in Final Destination: Bloodlines
    Photo by Eric Milner
    Kaitlyn Santa Juana in Final Destination: Bloodlines.

    On the surface, the Final Destination films really shouldn’t work. There is no villain other than the concept of death itself, and nearly every death that occurs is foreshadowed so heavily that it removes the normal suspense that comes in horror films. And yet the franchise was successful enough to spawn five films over 11 years in the early 2000s, and now a reboot, Final Destination: Bloodlines.

    A fantastic opening sequence set in the 1960s sets both the tone and the plot of the film, in which Stefani (Kaitlyn Santa Juana) has a recurring nightmare about a disaster that her grandmother, Iris (Gabrielle Rose), helped to avert. A visit to the reclusive Iris convinces Stefani that she and her family should not exist, and that each one of them is destined to meet a grisly end in the near future.

    Met with resistance from her family members, Kaitlyn is unsurprisingly proven right as the film goes along, with different people dying in a variety of bizarre ways. A visit to William Bludworth (the late Tony Todd), a mortician who’s been the one constant in the series, provides a glimmer of hope that they can cheat death. But will they figure it out before it’s too late?

    Directed by Zach Lipovsky and Adam B. Stein, and written by Guy Busick and Lori Evans Taylor, the film does not try to reinvent the wheel for the concept. The entire point is to get as creative as possible with the death scenes, and the filmmakers take that mandate seriously, with each successive death becoming increasingly gruesome. The Rube Goldberg-like manner in which each death occurs makes the scenes come off as entertaining instead of off-putting.

    The idea of Death hunting down an entire family line due to the actions of the family elder is a solid twist on the series’ central premise, and that change keeps the film from feeling repetitive. The story also introduces the possibility that the entire series is connected due to Iris’ actions, with the character possessing a scrapbook that references well-known incidents from previous films, a fun Easter egg for longtime fans.

    The creativity of the kill sequences does not carry over to the overall story, though. Almost every character in the film only exists in order to meet a horrific end, so anything that they have going on outside of being stalked by Death is purely window dressing. Consequently, it’s hard to really care about anybody, even if they are all related to one another.

    Because characters are so easily dispatched in the film, the cast is devoid of well-known actors. This is by far Santa Juana’s biggest role to date, and she does well enough to want to see more of her in the future. Adults like Alex Zahara and Rya Kihlstedt are character actors who bring some history with them, while the younger group is composed of people still trying to make names for themselves.

    Final Destination: Bloodlines is a solid return for the franchise, even if it feels more like a one-off film rather than a justification for more stories in the future. But given how easily the concept can be adapted into new circumstances, don’t be surprised if another movie pops up in a couple of years.

    ---

    Final Destination: Bloodlines opens in theaters on May 16.

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