Movie/Music Combo Review: Neighbors is Laugh-Out-Loud Fun while Lana Del Rey's Ultraviolence is a Reliably Haunting Effort

Check out Neighbors, the new comedy film starring Seth Rogen and Zac Efron. It's laugh-out-loud humor that is mostly juvenile, but delivered cleverly enough to make even the most sophisticated of movie-goers chuckle. The film isn't without flaws, such as several comedy cliches and jokes that don't necessarily land, but it is ultimately an enjoyable, exhilarating effort. Backed by a modern soundtrack featuring the likes of Fergie and Kesha, and brimming with humor involving ragers and iPhones, Neighbors is a timely film that may be a little too close for comfort for some viewers (ahem, the younger audience members). Additionally, in line with comedy standards, the acting actually impresses. While Seth Rogen steals most of the scenes he's in, the most bravura--and at times disturbing--performance of them all was that of Zac Efron as the president of Delta Psi Beta Fraternity. He brings a dark realness and anger to what could have been a steorotypical performance, a depth that one wouldn't expect from such a film.

3/5

Also check out two-time Grammy-nominated artist Lana Del Rey's album Ultraviolence. Though it was released last month, I finally decided to take the time to write a quick review on it. I am a big admirer of Lana due to her retro-Americana vibe as well as her brilliant songwriting.

Ultraviolence is a perfectly lazy and misty album that strangely has a New York and an L.A. feel to it. Despite her White Plains roots, Lana is a girl whose heart belongs to both coasts. She sings to the past with a heavy loneliness in her voice, and you can see with every word the terrible, beautiful world she inhabits. The album has a strong start with the wonderful "Cruel World" and remains strong through the lead single "West Coast." In between these two tracks is "Brooklyn Baby," arguably the best and most memorable song on the album. Unfortunately, though, "Sad Girl," though still a solid track, opens the less memorable section of the album. Lana redeems herself in the end, though, with the hauntingly beautiful "Old Money" and a gorgeous rendition of "The Other Woman." The album starts strong, and ends strong, and throughout it, flaws and all, Lana delivers her signature, lonely girl style we all love.

4/5