Overrated / Underrated

UNDERRATED

Redbox: Netflix, we appreciate your “future is now” optimism in shifting focus from delivering movies physically to delivering them virtually. But for those who live where Internet speeds are still stuck at 2003 levels, Redbox’s many machines around town offer an enticing alternative. An immediately available DVD selection that goes beyond the blockbusters for a buck a night? Until our technology catches up, we’re thinking inside this box for awhile.  (Elaine Thompson / Associated Press)

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The endurance of ‘mumblecore’: What began as an intriguingly DIY mini-movement involving twentysomething filmmakers such as Joe Swanberg and Andrew Bujalski must now learn to speak up or shut up. With Lena Dunham’s post-collegiate angst-fest “Tiny Furniture” carrying the genre’s torch of self-obsession among young middle-class hipsters, mumblecore has to find a way to tell an interesting story that lies beyond the inert comedy of awkwardness.  (Joe Anderson / Associated Press)

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Billy Corgan’s opinions: Obviously still harboring some hurt feelings over a barbed line in Pavement’s 1994 song “Range Life,” the Smashing Pumpkins leader recently slammed the band for reuniting for a victory lap tour without any new material. Oh, Billy. Instead of spouting off with the sort of antagonistic blather that left you as the last original member of your band, maybe write a song that doesn’t make us wish you stopped making new music in the ‘90s too.  (Miguel Tovar / Associated Press)

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Florence + the Machine: With Tori Amos and Neko Case between projects, the music world is ripe for a new ginger chanteuse. Thus arrives this big-voiced Londoner, who just came off three sold-out nights at the Wiltern and feels on the verge of a breakthrough. With a uniquely anachronistic look and gently twisted, soulful songs like “Rabbit Heart (Raise It Up)” and “You Got the Love,” Florence Welch may be Britain’s way of apologizing for Amy Winehouse.   (Jay L. Clendenin / Los Angeles Times)

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Covering politics like sports: As the race for ratings rages on, we’re struck by how much the 24-hour news networks’ elections coverage resembles the over-the-top, argumentative blather seen on the average NFL pregame show. We understand that it’s a lot easier to create flashy graphics and speculation than, say, a clear explanation of TARP or the two-gap defense, but let’s not forget one of these topics is still important enough to merit a try.   (Brendan Hoffman / Getty Images)

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‘The Benson Interruption’ on Comedy Central: A fixture at the UCB Theatre and Largo, this show led by former “Last Comic Standing” star Doug Benson offers stand-up comedy with a twist. With the heavy-lidded Benson at center stage firing off-the-cuff one-liners at comics such as Patton Oswalt and Nick Swardson as they perform their set, the resulting comedy mashups are often as wild and rewarding as watching two jazz musicians riff off each other.

Pictured: Doug Benson onstage at the Upright Citizen’s Brigade Theater in Hollywood in 2009.  (Irfan Khan / Los Angeles Times)

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Olivia Munn on ‘The Daily Show’: Now that a silly online kerfuffle about whether “The Daily Show” is sexist has passed, we can address a more honest problem with the hiring of this G4 host: She’s just not funny. We understand she comes with a built-in audience and is clearly committed to chasing laughs, but if we’re thinking of female funny people most likely to mesh with Stewart’s band of gypsies, wouldn’t a pro like Maria Bamford be a better choice?   (Brian van der Brug / Los Angeles Times)

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Too much of a good Galifianakis: Let’s be clear: We’re big fans of this well-bearded comic, and Zach Galifianakis’ breakout success is a welcome sign that every now and then Hollywood gets it right. That said, as much as we appreciate striking while the iron’s hot, we’re disappointed that quantity is starting to outweigh quality with his films, particularly with this weekend’s very average-looking “Due Date.” Isn’t it time to film another stand-up movie (please)?  (Jay L. Clendenin / Los Angeles Times)

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Anything involving “Godsmack” and “Creed” in the same sentence: Maybe you missed this bit of non-news, but the lead singer of the apparently still-touring rock band Godsmack recently issued a four-paragraph apology for the insulting things he said from the stage about fellow critical punching bags Creed. We’re not sure what’s worse, that two past-their-prime bands can actually still have a rivalry or that we’re so shocked it exists that we’re sharing it ourselves.

Pictured: Sully Ema of Godsmack performing in San Bernadino in 2009.  (Jake Danna Stevens / Los Angeles Times)

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Dia de los Muertos: Seemingly always in danger of falling into the “overrated” column with its only slightly more commercialized calendar neighbor, we have a soft spot for giving this day its due. The annual celebration at Hollywood Forever Cemetery is a reliably raucous yet reverent time, and we heartily endorse a day of honest reflection on such matters of life and death. If such things take on a new gravity while carrying a Halloween hangover, even better.  (Barbara Davidson / Los Angeles Times)

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Trent Reznor’s score for ‘The Social Network’: While we’re still surprised a film about the birth of Facebook could be so engrossing, the icy and occasionally dissonant electronic burbles and beats from the Nine Inch Nails mastermind and co-writer Atticus Ross stole a few scenes all by themselves. Coloring the film with ominous atmosphere and a kinetic drive equal to the film’s over-caffienated pace, Reznor proves he doesn’t need lyrics to tell a story.  (Ennio Leanza / Associated Press)

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The sprawl of Arcade Fire‘s ‘The Suburbs’: Not to hold up this band’s journey to canonization via near-universal critical acclaim, but as much an improvement as this record is after the murky “Neon Bible,” it’s not as flawless as the hype. While the highs are higher than Win Butler and Co. have ever gone before, the album grows repetitive over 16 songs. A fine listen, sure, but it’s hard not to wonder how great it could have been with a little editing.   (Robert Gauthier / Los Angeles Times)

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The Avett Brothers: On first listen, this trio led by brothers Seth and Scott Avett can seem almost too earnest, like that friend at the bar who can’t stop talking about his first love. But we’re charmed by the Avetts’ 2009 record “I and Love and You,” whose rustic yet orchestrated flourishes were a big part of the band’s barnburner of a set on “Austin City Limits” recently. Sample the last call-ready title track and the banjo-flecked “January Wedding” for proof.  (Gary Friedman / Los Angeles Times)

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Outcry over Justin Timberlake‘s musical inactivity: Despite his fluffy boy-band beginnings, Timberlake struck pop gold with his 2006 album, “FutureSex/LoveSounds.” And while he’s kept busy acting in “The Social Network” (pictured) and flexing surprising comic chops with Andy Samberg, fans are clamoring for Timberlake to get back to his day job. We admire the loyalty, but everyone may need to move on. How many times can one person really bring “SexyBack”?   (Merrick Morton / Associated Press)

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Phoenix: Far be it from us to rain on anyone’s musical parade since there were few bands that scored summer 2009 as well as these French purveyors of stylishly electro-dusted guitar pop. But as fun as spritely confections such as “Lisztomania” and “1901” are, we’re wondering if the magic can last for a follow-up, because as we really think about those hits, we’re hard-pressed to tell much of a difference between them.   (Ethan Miller / Getty Images)

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Nick Cave: At this point, we’re going to have to request a MLB-styled congressional inquiry into just what’s driving this veteran Australian singer-songwriter, who at fiftysomething years old really shouldn’t still be throwing around the same rock ’n’ roll fire he brings on his just-released album, “Grinderman 2.” As witty, raw and bile-fueled as his 2007 recording with this side project from longtime band the Bad Seeds, Cave simply may not be aging — if we’re lucky.  (Torben Christensen, AFP/Getty Images)

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Pop’s continued youth movement: While tapping children for pop stardom hasn’t been news since Stevie Wonder had “Little” in front of his name, we’re troubled by the startlingly club-ready “Whip My Hair” from 9-year-old Willow Smith, the youngest daughter of Will and Jada Pinkett Smith. While the days of “ABC” by the Jackson 5 may be behind us, can’t even an already famous kid still look and sound like a kid while making a record that’s (presumably) for kids?  (Franck Robichon / EPA)

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Interpol’s endurance: Like a first-generation iPod, few things remind us of the early ‘00s quite as clearly as this stylish indie rock outfit, whose fourth album comes out Tuesday. And while there’s no arguing how well the band captured a moment with the moody “Turn on the Bright Lights” in 2002, Interpol’s albums have proved to be a less-interesting retread of the same dark, Joy Division-inspired ground. May we suggest adding more color to your mix, gentlemen?  (Spencer Weiner / Los Angeles Times)

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Danny Trejo: We haven’t yet seen Robert Rodriguez‘s slyly ultra-violent “Grindhouse” spinoff “Machete,” but nothing makes us happier than knowing this character actor is getting his due as the lead. A fixture in action and horror films who has played boxers, bartenders and bad guys in everything from “Heat” to “Tim and Eric Awesome Show, Great Job!,” Trejo is a gruff, hard-boiled throwback to the days of Charles Bronson, in the very best way.  (Joaquin Avellán / Associated Press)

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Cracker: Let no serious ‘90s revival begin without this roots-rock band led by Camper Van Beethoven’s David Lowery (pictured), who may be best remembered for the alt-radio hit “Low” and the snide almost-anthem, “Teen Angst (What the World Needs Now).” Headlining the hipper-than-thou Echoplex this week, Lowery shows that his taste for brash, Americana-informed rock remains as sharp as his biting wit on the band’s new record, “Sunrise in the Land of Milk and Honey.”  (Erik S. Lesser / Getty Images)

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Covers on ‘Weekend Becomes Eclectic’: While our heart pumps truckloads of respect for Nic Harcourt (pictured) and his now-weekly show on KCRW, we’ve long wondered if there are any softly rendered reworkings of ’80s alternative hits he wouldn’t play. In the span of an hour last week we heard bland, mewling takes on the Stone Roses’ “I Wanna Be Adored” and “Enola Gay” by OMD. Eclectic choices, sure, but you know what else sounds eclectic? The originals.

For the record: The official term for Harcourt’s weekly radio show is “Nic Harcourt on KCRW.”  (Mel Melcon / Los Angeles Times)

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Mogwai: Thirteen years removed from its punishing debut, “Young Team,” we’re surprised how well this Scottish instrumental band still delivers the goods. Mogwai is a purveyor of a surprisingly dynamic mix of loud-quiet-loud guitar excursions, and its live shows can have the relentless drive of a low-lying storm system. A new album and DVD set, “Special Moves,” captures that taut chaos. Evocative and atmospheric, it’s amazing that a sound so big fits on plastic.  (Kiko Huesca / EPA)

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The ‘Kids in the Hall’ comeback: For a certain brand of comedy nerd (like us), the return of the Canadian sketch troupe for an eight-episode miniseries on IFC is like when the Eagles reunited, except with better music. Called “Death Comes to Town,” the series finds all five original members — Mark, Bruce, Scott, Kevin and Dave — in multiple roles, revisiting some classic characters and devising new, equally twisted ones. Welcome back, Kids.  (Michael Gibson / AP)

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Lady Gaga overload: We get it, Gaga. You’re the heir apparent to Madonna, you’ve added some engagingly arty steak to pop music’s typical sizzle, and you’ve almost reached your goal of world domination. Now it’s time to go write a new album, something that just can’t happen when you’re flogging the same old songs, hitting every photo-op and stage-diving at Lollapalooza. To put it bluntly, how can we miss you when you won’t go away?   (Jason Merritt / Getty Images)

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Tame Impala: Not only is it probably one of the better band names in recent memory, but this Australian trio has also delivered one of the best records of 1969 that happened to be recorded some 40 years later. Fuzzy yet irresistably catchy, “Innerspeaker” at times resembles some hazy record clerk daydream of John Lennon fronting Blue Cheer, yet somehow never sounds like just another psych-rock tribute act. Tune in, turn on, rock out.   (Mark Metcalfe / Getty Images)

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The food truck revolution: Let the record show that the many unexpected delights found in the vibrant food truck trend sweeping L.A. streets officially went on life support in the summer of 2010. Our heart still pumps Sriracha for Kogi, but beware Pyongyang Express (pictured), a “North Korean” food truck that’s just a viral campaign for an upcoming videogame about a U.S. invasion. Finally, corporate marketing that can literally leave a bad taste in your mouth.  (Robyn Beck, AFP/Getty Images)

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Defining a city in song: First Jay-Z threw his hat in the ring for usurping Sinatra with “Empire State of Mind,” then Katy Perry celebrated Southland summer glitz with the catchy yet self-satisfied “ California Gurls.” Inevitably both songs fall short of capturing the reality of a place beyond what very wealthy celebrities enjoy, so can we all just take a break from courting various chambers of commerce and go back to just writing songs instead of anthems?   (Christopher Polk / Getty Images)

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A future of ‘dynamic pricing’: The concert industry’s woes have been well documented, and the merger of Ticketmaster and Live Nation already has music fans wary about rising costs. Although times are tough, the ticketing juggernaut’s recent idea to allow ticket prices to fluctuate depending on demand (much like airline tickets) doesn’t bode well. If this takes hold, you might as well start saving now if you want to see Radiohead next time around.

Pictured: Live Nation CEO Michael Rapino   (Gary Friedman / Los Angeles Times)

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Nick Flynn: The poet, playwright and author broke through with the elliptical memoir about homelessness and his father, “Another [Redacted] Night in Suck City,” and he’s captured the same magic on his latest, “The Ticking Is the Bomb.” A raw, passionate and engrossing meditation on impending fatherhood in a world filled with terror and torture, Flynn’s way with words may not always be light summer reading, but it casts a light all its own.  (Carolyn Cole / Los Angeles Times)

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Leonardo DiCaprio‘s dramatic chops: Regarding the much-debated “Inception,” we’re rating it below its advance hype but well above every other summer popcorn movie. But we’re still not sold on DiCaprio, who always looks like he’s intensely emoting but somehow never lets us forget that he’s acting. And are we crazy or did his role in “The Departed” leave him with touches of Nicholson in his voice? Is Leo just a rich man’s Christian Slater?   (Melissa Moseley / Associated Press)

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Sleigh Bells: Although we’re disappointed that the electronic music festival Hard L.A. was canceled last week because of security concerns in the wake of the death of a 15-year-old at last month’s Electric Daisy Carnival, one group we’re happy to miss is this heavily buzzed Brooklyn duo. Sounding a little like mid-’00s cheerleader rockers the Go Team cranked to speaker-shredding levels, Sleigh Bells will be about as relevant in 2011 as their namesake is in July.  (Jay L. Clendenin / Los Angeles Times)

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Reggie Watts: It’s difficult to explain what exactly this wild-haired comic does — is it improvised music? Deconstructionist stand-up? Stream-of-consciousness performance art that captures a whirl through the radio dial? Whatever it is, the multitalented Watts (who also writes music for the terrific FX series “Louie”) is onto something new, and it’s seriously funny. Get an idea with his deliciously strange “stand-up” DVD, “Why $#!+ So Crazy?”   (Jemal Countess / Getty Images)

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Girl-group reverb: Whether it’s Best Coast, Vivian Girls or Dum Dum Girls (and we can hardly tell the difference between the last two), a grittily low-fi, Phil Spector-informed sheen of echoey vocal melodies has become a common denominator among way too many female-fronted indie rock bands these days. While we love a vintage wall of sound as much as anyone, it’s time for everyone to let go of the past and just belt one out like it’s 2010.

Pictured: Dum Dum Girls with Bethany Cosentino of Best Coast, second from right.

For the Record: An earlier version of this slide did not identify Cosentino.  (Kirk McKoy / Los Angeles Times)

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‘Retiring’ from acting in your 20s: We’ll miss you, Amanda Bynes, who brought so much joy to our lives with “What a Girl Wants,” “She’s the Man” and . . . wait, who are you again? While we appreciate the effort it took to announce you’re hanging ‘em up at the ripe old age of 24, here’s a tip: Unless you’re Michael Jordan, if you’ve had a job just over 10 years, you didn’t retire. You just quit.   (Stephen Osman / Los Angeles Times)