# data[].attributes.headline
Review of Hannibal as "the greatest crime show a bunch of weird murder obsessed Americans never watched"

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Review of Hannibal as "the greatest crime show a bunch of weird murder obsessed Americans never watched"

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The first review I found was this... the criteria it used to review TV was ...

Another review I found was ... It used _____ as criteria.

Finally, this review was based on the criteria of...

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Review of Labyrinth (the better one with David Bowie) and 5 reasons why Labyrinth will always be a quality movie

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Review of Labyrinth (the better one with David Bowie) and 5 reasons why Labyrinth will always be a quality movie

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The first review I found was a Labyrinth review by Roger Ebert https://www.rogerebert.com/reviews/labyrinth-1986
The second review was a review of Jurassic Park by Lindy West https://jezebel.com/5993638/everything-that-happens-in-jurassic-park-in-chronological-order

The criteria in which was used for all of the reviews include:
Character development, plot, soundtrack, length, reality/ability for real world things to happen, references, summary, special effects, production, creativity, comedy, and genre

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review of going grey and how it compares 2 the other tfb albums

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review of going grey and how it compares 2 the other tfb albums

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the production, lyrics, and overall mood of the album vs the previous

https://www.altpress.com/reviews/entry/the_front_bottoms_going_grey_review

https://www.avclub.com/the-front-bottoms-swap-raw-nerves-for-technical-complex-1818764626

https://rollingstoneaus.com/reviews/post/the-front-bottoms-going-grey/7272

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Review of Saturation 1-3 by Brockhampton as one project

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Review of Saturation 1-3 by Brockhampton as one project

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https://www.rollingstone.com/music/albumreviews/my-beautiful-dark-twisted-fantasy-20101109

https://www.youtube.com/watch?v=iBHjkRZQbv8

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Marking a blunt break with the filigreed maximalism he nailed on My Beautiful Dark Twisted Fantasy, Kanye's sixth solo album trades smooth soul and anthemic choruses for jarring electro, acid house, and industrial grind while delivering some of his most lewd and heart-crushing tales yet.

Look at the song title "I Am a God" and it seems like easy blasphemy-- Kanye West's update of John Lennon's "more popular than Jesus" shocker from 1966. But just as the Beatle's proclamation was fuller and wiser in context-- "I believe that what people call God is something in all of us," Lennon would later explain-- "I Am a God" is not simply the latest self-important blast from one of pop culture's pre-eminent egoists. For starters, the track sounds less triumphant than breathtakingly vexed, crashing in with a gnarled dancehall vocal sample and paranoid sawtooth synths that aim to destroy. Here, Kanye raps about loyalty, respect, threesomes, and, yes, croissants with the urgency of someone being chased by a 30-ton steamroller. The song is pierced by a series of primal screams, pixelated outbursts that are only briefly able to halt the beat's heaving evil. In Kanye's hands, being a god sounds stressful as hell, something we can all relate to, and the song's apparent inspiration is a passage from the book of Psalms: "I have said, Ye are gods; and all of you are children of the most High."

These are the immeasurably lofty stakes Kanye deals in on Yeezus, his sixth solo album. His intensity here has a heightened desperation as he howls into the void, but the Chicago native has always been beguiled by the view from above. Take " Jesus Walks", where he references another Psalm while gasping from on high: "I walk through the valley of the Chi where death is/ Top floor, the view alone will leave you breathless." Then, on "POWER", he contemplates leaping out of the penthouse, "letting everything go." In a way, Yeezus is the panicked sound of that ensuing free-fall, a rush of angst and despair with absolutely nothing left to lose.

The album is something of a razor-sharpened take on 2008's distressed 808s & Heartbreak and marks a blunt break with the filigreed maximalism Kanye so thoroughly nailed on My Beautiful Dark Twisted Fantasy. In hindsight, the latter record-- with its ingratiating GOOD Fridays buildup, endless guest list, and uncharacteristically apologetic interview sessions-- was his attempt at recapturing a superstar-sized American audience after a slew of entertaining-yet-questionable PR incidents. Except it didn't exactly work: While Twisted Fantasy was universally lauded and went platinum, it still stands as Kanye's worst-selling album to date, failing to produce a top 10 single. But even if it wasn't a chart smash, the intricacy and durability of Twisted Fantasy incubated the Cult of Kanye to an extreme level. "I'd rather piss a bunch of people off and make myself happy than make everyone else happy and be pissed off inside," he told VIBE around the release of 808s. Yeezus doubles-down on this exclusionary philosophy: "Soon as they like you, make 'em unlike you/ 'Cause kissing people ass is so unlike you."

For Kanye, there's purpose in repulsion. And on Yeezus, he trades out smooth soul and anthemic choruses for jarring electro, acid house, and industrial grind while delivering some of his most lewd and heart-crushing tales yet. This is willful provocation that Ice Cube, Madonna, and Trent Reznor could all be proud of. Some of the record has him tackling the same issues he's been rapping about since The College Dropout, albeit with a fire-eyed stare. On his debut's "Family Business", he poignantly lamented a jailed cousin's absence at the Thanksgiving dinner table in a manner "so sweet, like a photo of your granny's picture." On Yeezus, he's still addressing the plight of incarcerated black men, but now he's incensed. With "New Slaves", he confronts us with vulgar stereotypes while exposing the prison-industrial complex for the deeply systemic racist sham that it is.

Meanwhile, XXX creeper "I'm In It" sounds like a dancehall orgasm mired in quicksand and makes previous come-ons like "Slow Jamz" come off like Disney theme songs. "The kids and the wife life, but can't wake up from the nightlife," says the new father on that track's knowingly button-pushing final verse. "I'm so scared of my demons/ I go to sleep with a nightlight." Kanye told The New York Times he's recently reached a new level of Zen, but this is the opposite of beach-chair music. Perhaps the album's most explicit lines are the blurry fantasies of a confessed porn addict who's described his daughter's mother as a "superstar all from a home movie." Without much room for levity, Kanye's complicated and distrustful view of women is unrelenting on Yeezus. And while there's no real excuse for flat oafishness like "eatin' Asian pussy, all I need was sweet and sour sauce," many of the album's most powerful moments have him broken down, insecure, and bloody, railing against an ineptitude with the opposite sex.

Album pinnacle "Blood on the Leaves" tells a nightmarish story of divorce and betrayal, all while samples of Nina Simone's pitched-up "Strange Fruit" and TNGHT's demonic "R U Ready" horns play yin and yang to the protagonist's alternately sorrowful and furious headspace. "Hold My Liquor" and "Guilt Trip", meanwhile, find Kanye trying to restate his manhood while his emotions crumble around him; if he's not drunk and swerve-y, trying vainly to reconcile with an ex, he's hoping to brag himself out of being dumped. Caustic humor shows up now and then, buoying certain lines or tracks like "Send It Up" and "Bound 2", but it's often fleeting. As on "Runaway", there's something palpably sad about the men in these songs, which twists them away from misogynistic assertions of power toward feelings that are ultimately more self-destructive. As contemporaries like Jay-Z, Beyoncé, and Justin Timberlake increasingly devote their music to largely winning tales of contentment, Kanye is unwilling or unable to settle for settling down.

This discomfort is essential to his enduring appeal. For instance, instead of working with giant phone companies to guarantee commercial success, a la his big brother, Kanye's now making a point out of rejecting corporate sponsorship. Whether it's a meaningful stance or a blindly contrarian move is up for debate. But after recent tensions between hip-hop and corporate America, visceral and disturbing lines like "put my fist in her like a civil rights sign" put Kanye beyond the reach of mainstream brands hoping to siphon his credibility. As he told the Times, he's not disinterested in the idea of big companies or big money-- he compared himself to Steve Jobs, after all-- but he wants control.

The restlessness spreads to his aesthetic and collaborative choices. Rather than relying on known hitmakers to augment his music, Kanye solicited ideas from exciting up-and-comers including Hudson Mohawke, Young Chop, and Arca. And even veteran producers involved in the project, like Rick Rubin and Daft Punk, were seemingly chosen not for their name recognition but their history of rule-breaking. In the mid-1980s, Rubin veered away from the colorful, party-starting tones of early rap music and created bare, hard beats for LL Cool J, Run-D.M.C., and the Beastie Boys-- a perfect fit for Yeezus' less-is-more snarl. And though Kanye's blaring, digitized assault couldn't be further from Daft Punk's naturalistic, groove-based Random Access Memories, the artists share a basic philosophy. As Daft Punk's Thomas Bangalter recently said of their new record: "We had the luxury to do things that so many people cannot do, but it doesn't mean that with luxury comes comfort."

The idea extends to the how Yeezus treats the human voice. Running with the confounding hook from last year's "Mercy", dancehall patois is scattered throughout, bringing with it that music's sense of menacing confrontation. And Bon Iver's Justin Vernon shows up on a few tracks, using his voice to give the darkness an angelic tint. Expanding upon the cracked vocal experimentation on Twisted Fantasy's "Blame Game", Kanye's own voice is often shadowed by pitched-down ghouls. And though he could've likely chosen any rapper on earth to guest on the riotous "Send It Up"-- probably the most likely, if not only, chance Yeezus has for a rap-radio hit-- he chose Chicago's relatively unknown King L. His presence, along with that of fellow Chi-town driller Chief Keef, makes the message clear: America may want to ignore these young black men from the gang-strewn South Side, but here, they have a voice.

All of these unlikely choices demonstrate how cohesion and bold intent are at a premium on Yeezus, perhaps more than any other Kanye album. Each fluorescent strike of noise, incongruous tempo flip, and warped vocal is bolted into its right place across the record's fast 40 minutes. The precise approach runs through Yeezus' guerrilla-style promotion, too, which found an army of dark vans lighting projections onto buildings around the world, itself a boots-on-the-ground reaction to today's InstaTweet brand of music dissemination. I went to one of these impromptu happenings last Saturday night, in the middle of Manhattan. At 1:20 a.m., the words "NOT FOR SALE" lit up on the south side of the Louis Vuitton building. A few guys ran across the street with Christmas-morning glee, snapping photos. Then, Kanye's starkly-lit visage appeared to recite "New Slaves"'s anti-consumerist lines as cabs streaked by the luxury stores below. His was the only black face to be seen across the jumbo ads lining an eerily desolate 5th Ave. The van soon closed its doors and drove away; the culture bomb's flash was over in an instant, but the reverberations were just starting to spread.

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Marking a blunt break with the filigreed maximalism he nailed on My Beautiful Dark Twisted Fantasy, Kanye's sixth solo album trades smooth soul and anthemic choruses for jarring electro, acid house, and industrial grind while delivering some of his most lewd and heart-crushing tales yet.

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Review of Bioshock as the last gaming franchise that really tried.

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Review of Bioshock as the last gaming franchise that really tried.

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The first review I found was by LGR of The Sims 4. One criteria they used was whether or not the expansion pack felt reminiscent of previous packs while still having a fresh feel. Another criteria that this review used was whether or not it changes the game or if it just compliments and adds to it.
https://www.youtube.com/watch?v=9mLI6Sq4eFc

Another review I found was Polygon's review of Shadow of the Colossus. The criteria they used was
https://www.polygon.com/2018/1/30/16946392/shadow-of-the-colossus-review-remake-ps4-playstation-sony

The last review I found was by Kotaku about Monster Hunter: World. The criteria that they used to review this game was

https://kotaku.com/monster-hunter-world-the-kotaku-review-1822557729

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Review of the controversial Battlefront 2 from the perspective of a normie without money to drop on the loot system. 

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Review of the controversial Battlefront 2 from the perspective of a normie without money to drop on the loot system. 

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https://kotaku.com/star-wars-battlefront-the-kotaku-review-1743813800

https://kotaku.com/dragon-age-inquisition-the-kotaku-review-1659833205

https://kotaku.com/overwatch-the-kotaku-review-1779831636

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Review of Lykke Li Album: I Never Learn 

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Review of Lykke Li Album: I Never Learn 

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https://www.youtube.com/watch?v=U6Zbc8Q3Jgo&t=365s
https://pitchfork.com/reviews/albums/19312-lykke-li-i-never-learn/
https://www.rollingstone.com/music/albumreviews/i-never-learn-20140429

NeedleDrop began his review by giving a slight background to his general consensus of Lykke Li by pointing out key themes in her previous albums, giving him ethos by making him seem qualified to review her as he has been with her since 2008, according to NeedleDrop himself.Continuing on, he goes through a couple key tracks on the album, focusing on vocals and instrumentals as well as development of her persona in the album. The lyrics were not as important to him, but he strategically inserts a couple quotes about her feelings. Some other criteria he looked upon were the production value and her "legacy", claiming that certain songs were just skippable.

Pitchfork opens the review with intense adjectives and descriptors such as potent, submissive, painful, and ballad heavy to draw the reader in and make them interested. The review continues by relating Lykke's current life to the chronology of the album, giving Pitchfork ethos and logos for having credible information on her and her album.
Some other criteria are how Pitchfork discusses the overall length of the album and the mood of her vocals.

Rollingstone had not much to say, but mostly stayed on her instrumental backings to her vocals, the mood, the story of the album, and how this album was in relation to other albums.

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Review of Jim Henson's:The Labyrinth with Tanya

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Review of Jim Henson's:The Labyrinth with Tanya

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Movie review link 1980 The Shining: http://www.nytimes.com/movie/review?res=EE05E7DF1738E270BC4B51DFB366838B699EDE

2017 Jumanji: https://www.cinemablend.com/reviews/1738669/jumanji-welcome-to-the-jungle-review

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Review of Grey's Anatomy Season 13- Final: They focused on each character's importance 

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Review of Grey's Anatomy Season 13- Final: They focused on each character's importance 

# data[].attributes.body
The review that both link are about is the focus on character development and characterization. Another criteria that this review used was whether love is going to take place or saving the people.

http://www.vulture.com/2017/05/greys-anatomy-season-13-finale-recap.html

https://youtu.be/joaM1rIkZeQ

http://www.cosmopolitan.com/entertainment/tv/a9881735/greys-anatomy-season-13-finale-recap/

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The first review I found was Jeffree Starś review of the Fenty Beauty Galaxy Collection. The criteria it used to review make up is the packaging, texture, pigmentation, application, formula, originality, and performance.
Another review I found was NikkieTutorials review of the

KKW Ultralight Beam Glow + Glosses. It used, amount of fallout, density, texture, stickiness, effect on face shape, scent, pigmentation, effectiveness, and packaging.  Finally, Odyssey's review of Jeffree Star Cosmetics Liquid Lipstick VS. Kylie Lip Kit was based on the criteria of texture, pigmentation, streakiness, quickness to dry, dryness of skin,  and price.

https://www.youtube.com/watch?v=BmEV4-KGjBw&t=961s

https://www.youtube.com/watch?v=gG4UcZlc3ko

https://www.theodysseyonline.com/jeffree-star-cosmetics-liquid-lipstick-kylie-cosmetics-liquid-lipstick

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Review of Hopeless Fountain Kingdom by Halsey

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Review of Hopeless Fountain Kingdom by Halsey

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The first review I found was of Hopeless fountain kingdom:
https://www.rollingstone.com/music/albumreviews/review-halseys-hopeless-fountain-kingdom-w485214
The second review I found was of Melodrama by Lorde:
https://www.nytimes.com/2017/06/16/arts/music/lorde-melodrama-review.html
The third review I found was The Thrill of it All by Sam Smith:
https://pitchfork.com/reviews/albums/sam-smith-the-thrill-of-it-all/

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Review of American Horror Story and why season__ is the best season

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Review of American Horror Story and why season__ is the best season

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The first review I found was:
http://www.vulture.com/article/american-horror-story-seasons-ranked-from-worst-to-best.html
The criteria it used to review it was

consistency

how entertaining/ captivating

substance

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Review of parks and recreation Season 4 Episode 22

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Review of parks and recreation Season 4 Episode 22

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The first review I found was this
https://www.avclub.com/a-returning-riverdale-struggles-in-its-attempts-to-move-1822186092
the criteria it used to review the show riverdale were comparisons to other popular tv shows and it's brutal (but true tbh) critiques on the storyline/ plot while recapping the episode

https://www.avclub.com/will-ferrell-does-what-he-can-on-an-indifferently-writt-1822487552
This review of SNL nitpicks the highly regarded show by going into the depth about all of the skits and monologue

https://www.avclub.com/a-messy-agents-of-s-h-i-e-l-d-cant-even-deliver-on-the-1822466636
This review of Marvel's agents of S.H.I.E.L.D. tears down the show and all of its complicated plots/subplots

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One review i found was one on Roger Ebert's website. The criteria used to review was piecing the pathos of the film together, and analyzing the unusual cinematic choices of director Darren Aronofsky.

Another review I found was on NY times' website, and it explained the suspicious claims of Natalie Portman learning to be a prima ballerina in less than a year (something all ballerinas take decades to master) in order to do her own stunts and ballet pieces in the movie.

The last review in the guardian talks about the psychodrama aspect of the movie, and touches on the Bible allusions in the movie.

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Black Swan Movie Review & Film Summary (2010) | Roger Ebert

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Darren Aronofsky's "Black Swan" is a full-bore melodrama, told with passionate intensity, gloriously and darkly absurd. It centers on a performance by Natalie Portman that is nothing short of heroic, and mirrors the conflict of good and evil in Tchaikovsky's ballet "Swan Lake." It is one thing to lose yourself in your art.

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The first review captures a lot of characterization while making the movie as an enchanted story coming to life which brings life to the review:  https://www.rogerebert.com/reviews/beauty-and-the-beast-2017

The second and third review compares the the live action and the animated original film.
The second review points out the changes that work and the changes that don't work:
http://www.slashfilm.com/beauty-and-the-beast-compared-to-the-original/2/
The third review talks more about the similarities of the animated and live action and why it didn't work which I found an interesting approach:
https://www.theatlantic.com/entertainment/archive/2017/03/beauty-and-the-beast-remake-review/519603/

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Review of Campbell's AP Biology Textbook as a Scholastic Resource 

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Review of Campbell's AP Biology Textbook as a Scholastic Resource 

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Crush the DAT's Campell Biology Review based their criteria on various factors pertaining to the extent of efficiency and accessibility of content covered in the book in perspective to the Dental Entrance examination. It also based its criteria on the effectiveness in regards to passing rates of tests.
http://crushthedatexam.com/campbell-biology-review/

Another review I found was on Good Reads. It used simplicity of language and conciseness as some of the foundations for its criteria.
https://www.goodreads.com/book/show/145806.Biology

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The first review is from the Boston Globe:
http://archive.boston.com/ae/tv/articles/2005/09/13/supernatural_goes_south_in_a_hurry/

The second review is from the New York Times:
http://www.nytimes.com/2005/09/13/arts/television/unexplained-phenomena-lurk-behind-new-shows.html

The third review is from USA Today:
https://usatoday30.usatoday.com/life/television/reviews/2005-09-12-supernatural_x.htm

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Review of Hamilton soundtrack and the pure genius of it

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Review of Hamilton soundtrack and the pure genius of it

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Collaboration with Daniel

The first review we found was the NY Times: https://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html

This review was very focused on whether or not the musical lived up to the high standards already set by fans, and it agreed that it meets every one of them and is just as good as everyone believes.

The second review we found was "Time Out": https://www.timeout.com/newyork/theater/hamilton-1

The third review we found was Buzzfeed, ranking the songs: https://www.buzzfeed.com/kerrkerrkerr/a-ranking-of-every-song-in-hamilton-1m9qw?utm_term=.pxr5D6R8Y#.ujK6ZwXy0

Our criteria is: Lyrics, characterization, plot progression necessity, and vocalists.

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http://www.metacritic.com/game/wii/mario-kart-wii/critic-reviews

https://www.gamespot.com/reviews/mario-kart-wii-review/1900-6189936/

http://www.nintendolife.com/reviews/2008/04/mario_kart_wii_wii

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Review of Yuri on Ice (please don't make fun of me)

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Review of Yuri on Ice (please don't make fun of me)

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https://kotaku.com/yuri-on-ice-the-kotaku-review-1790636052
Bases criteria on unique story contents, animation quality, and ambiguity.
https://www.theverge.com/2016/12/21/13987438/yuri-on-ice-sports-anime-explainer-guide-faq-tumblr
Bases criteria on character development, animation, and story.
https://www.dailydot.com/parsec/yuri-on-ice/
Bases criteria on the ability to bring different communities together (unifying),

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Review of "IT" 2017 version as the "Best version of the movie ".

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Review of "IT" 2017 version as the "Best version of the movie ".

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The first review that I found was http://variety.com/2017/film/reviews/it-review-stephen-king-1202547601/
and the main criteria that it looks for is how good the casting director, Rich Delia , casted the perfect group of kids for each of the individual roles. He was really focused on the importance of finding the right group of actors for such a strong role.
The second review I looked at was https://timesofindia.indiatimes.com/entertainment/english/movie-reviews/it/movie-review/60398485.cms The main criteria that they viewed was capturing the essence of youth that is very much portrayed in the book.
The last review I looked at was https://www.washingtonpost.com/goingoutguide/movies/it-is-a-waking-nightmare-curated-from-a-catalogue-of-horror-movie-tropes/2017/09/07/2be19ad4-9307-11e7-89fa-bb822a46da5b_story.html?utm_term=.afd70e6fb6c3 The main criteria in this review was the concept of having the children face their fears in order to stop Pennywise himself.

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Review of Symphony No. 5 by Tchaikovsky as performed by the Gustav Mahler Jugenorchester (youth orchestra) conducted by Gustav Mahler

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Review of Symphony No. 5 by Tchaikovsky as performed by the Gustav Mahler Jugenorchester (youth orchestra) conducted by Gustav Mahler

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1.)review of Jon Robertson conducting the Redlands Symphony performing"Enigma Variations" by Elgar https://www.redlandsdailyfacts.com/2016/02/16/jon-robertson-conducts-redlands-symphony-in-elgars-enigma-variations/
2.)review of Vladislav Kosminov performing Chopin’s Piano Concerto No. 1 in E minor with the Redlands Symphony conducted by Jon Robertson
https://www.redlandsdailyfacts.com/2015/01/12/kosminovs-piano-work-memorable-at-redlands-symphony-orchestra-concert/
3.) reviews of the bromley symphony orchestra https://www.bromleysymphony.org/reviews

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Review of How Big, How Blue, How Beautiful by Florence + The Machine 

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Review of How Big, How Blue, How Beautiful by Florence + The Machine 

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Froot REview
https://pitchfork.com/reviews/albums/20368-froot/
Melodrama Review
https://www.rollingstone.com/music/albumreviews/review-lordes-melodrama-w487965
Camila Review
https://www.rollingstone.com/music/albumreviews/review-camila-cabellos-camila-w515387

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Semi-accurate review of Heathers the Musical

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Like the cult movie to which it pays homage, "Heathers" the musical should score with all those teen misfits who fantasized about getting even with the popular kids who humiliated them in high school - which is to say, just about everyone. The witty Off Broadway show, penned by Kevin Murphy and Laurence O'Keefe, plays strong to a multi-generational aud ranging from digitized 20-year-olds to their parents and grands of the Gen X era, reaching all the way back to their Boomer forebears. Someone of the current generation should shake a leg and transfer this winner to Broadway.
This has been one long season (or has it been four or five long seasons?) of bumpy stage adaptations of beloved books and films. But even seasoned industry pros could pick up a few tips on the Do's and Don'ts of adapting material from this smartly executed musical treatment of " Heathers." The darkly funny film tanked when it opened for business in 1989 (with little-knowns Winona Ryder and Christian Slater in the leads), but once the subversive nature of the satire sunk in with the disaffected generation it represented, the movie roared back to become a cult classic.

So, first lesson: Respect the original material. Although scribes Murphy ("Reefer Madness") and O'Keefe ("Bat Boy," "Legally Blonde") have done a bit of fiddling with Daniel Waters' film scenario, the book story is essentially faithful to its source.

Smart girl Veronica Sawyer (Barrett Wilbert Weed, her peppy wholesomeness redeemed by a deliciously dirty laugh) is taken into the tight circle of popular senior girls known as the Heathers (because, duh, they're all named Heather) on account of her uncanny forgery skills. But with social popularity comes a level of sadistic cruelty that Veronica can't stomach, and she quietly defects from the inner circle. Hooking up with moody bad boy Jason "J.D." Dean (Ryan McCartan, an attractive rebel, but no sexy psychopath), she becomes complicit in his homicidal takedowns of the school's vicious popular girls and brutal football players.

But a successful adaptation asserts its own stylistic skill set, so helmer Andy Fickman and his creative team have translated the film's sly satire into the bold language of musical comedy. The unit set is a flat stack of platforms. The lurid color scheme runs to turquoise and magenta. The music is a blast o' Broadway. And forget about those cunning witches who ruled Westerberg High in the movie. The Heathers who make their flashy entrance (under a triumphal arch of lunchroom trays) in the song "Beautiful" are comic-strip cuties in Amy Clark's paper-doll costumes and gaudy makeup.

Terrifying top girl Heather Chandler is ferociously funny in Jessica Keenan Wynn's absolutely terrific perf. Elle McLemore makes a rather sweet dumb bunny of Heather McNamara, and that utterly untrustworthy Heather Duke is all teeth and nails in Alice Lee's manic perf.

Other familiar characters, like perennial victim Martha "Dumptruck" (Katie Ladner) and those horny football players, Kurt Kelly (Evan Todd) and Ram Sweeney (Jon Eidson), are similarly bumped up a notch and smartly played for comedy. Everyone else in the senior class joins the chorus of generic students like Stoner Chick and Preppy Stud.

The show still deals with the serious issues that gave the movie its cutting edge: school bullying, teen sexuality, campus shootings, bomb threats and suicide epidemics. After 25 years of horrific school violence, J.D.'s terrorist persona and homicidal activities are actually more chilling today than they were when the movie came out.

But the key question with any musical adaptation isn't so much what it retains of its source, but what original contributions it makes. In changing tone from dark-dark to playful-dark, "Heathers" loses its edge. (The upbeat ending really goes soft.) But there are rewards, too.

One bright creative move was bringing the murder victims back from the dead - to sing and dance and mouth off at Veronica and J.D. for pulling them out of high school before they could graduate. And in song after song, the scribes consistently come up with sharp lyrics, many of the lines lifted directly from the movie, for the characters' deepest - or most superficial - thoughts.

The lyrics to "My Dead Gay Son" are unprintably funny. So are the boorish lines the football heroes sing in "Blue." But "Dead Girl Walking" is full of smart insights into Veronica's conflicted soul, and "Seventeen" is a surprisingly sensitive acknowledgement that even bad kids can dream of being "normal" good kids. Even at their giddiest, the lyrics never dumb down the characters singing them.

Wish we could say the same for the music, which is brassy and blah and sounds nothing like the music that made the 80s the 80s. Whatever J.D. was listening to when he was manufacturing his bombs, it probably had more synthesizer.

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Off Broadway Review: 'Heathers' the Musical

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Like the cult movie to which it pays homage, "Heathers" the musical should score with all those teen misfits who fantasized about getting even with the popular kids who humiliated them in high school -- which is to say, just about everyone.

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Review of Stranger Things Season 2 Episode 7: The Lost Sister as "The Episode that no one seemed to enjoy"

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Review of Stranger Things Season 2 Episode 7: The Lost Sister as "The Episode that no one seemed to enjoy"

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the first review I found was
https://www.avclub.com/the-lost-sister-takes-a-detour-and-gets-stranger-thin-1820044325
the main criteria was the lost chance of a major character development of Eleven

the second review I found was
http://www.vulture.com/2017/11/stranger-things-2-worst-episode-the-lost-sister.html
the main criteria of this review was how this episode did not fit into the vibe of Stranger Things

the final review I found was
http://www.digitalspy.com/tv/stranger-things/feature/a841946/stranger-things-season-2-episode-7-the-lost-sister-what-went-wrong/
this review lists multiple things that went wrong in this episode

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https://www.rogerebert.com/reviews/great-movie-vertigo-1958

The major criteria that was viewed was the way Hitchcock decided to portray the characters.

http://www.latimes.com/entertainment/movies/la-et-mn-mary-witchs-flower-20171130-story.html#nt=oft13a-8gp1

The major criteria that was viewed was the feeling and style of the film.

https://www.youtube.com/watch?v=Hlch9lKAeXo

The major criteria that was viewed was the mistakes made throughout the film.

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http://upcominghiphop.net/2015/10/03/album-review-dreaming-with-our-eyes-open-witt-lowry/

http://www.nme.com/reviews/album/2236813

https://www.rollingstone.com/music/albumreviews/review-migos-culture-ii-w516222

Austyn frisk

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(by Alison and Shrija)

The first review I found was https://www.nytimes.com/2017/10/31/movies/lady-bird-review-greta-gerwig-saoirse-ronan.html   the criteria it used to measure movies was tone, the rhythms, and characters.

The second review I found was https://www.newyorker.com/magazine/2017/12/04/call-me-by-your-name-an-erotic-triumph    and the criteria it used to measure movies was acting, the intimacy portrayed, and the shots.

Finally this review  https://www.rogerebert.com/reviews/baby-driver-2017 on the overall story, the aesthetic, and characters.

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https://www.destructoid.com/review-wii-sports-resort-143236.phtm
Website dedicated to video game reviews. Goes into detail on each sport and why its good or bad.
https://www.gamespot.com/reviews/wii-sports-resort-review/1900-6213652/
Explains why wii sports resort is a great game to play with friends and family.
http://www.ign.com/articles/2009/07/16/wii-sports-resort-review
Mentions how wii sports resort has improved compared to wii sports.

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Review of the Blizzard game, Overwatch: Why Overwatch is a giant leap forward in personality and team-building within FPS Multi-player games.

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Review of the Blizzard game, Overwatch: Why Overwatch is a giant leap forward in personality and team-building within FPS Multi-player games.

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This article by Fuss Frushtik, from Polygon, discusses the diversity of character-choice within the game, universally thought out to fit any player's fighting style in video games (attack, defense, support, etc.). They also discuss the encouragement of teamwork implemented into the game due to the strengths and weaknesses each character possesses.

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Review of the FPS Blizzard game, Overwatch.

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Review of the FPS Blizzard game, Overwatch.

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by Patrick Faulconer

Why Overwatch is a breakthrough within FPS Multi-player games for the added polish and personality it offers (disregard/delete the first post by Anonymous (me))

This article by Fuss Frushtik, from  Polygon, discusses the diversity of character-choice within the game, universally thought out to fit any player's fighting style in video games (attack, defense, support, etc.). They also discuss the encouragement of teamwork implemented into the game due to the strengths and weaknesses each character possesses.

This YouTube video, posted by Dan from Extra Frames, compliments the polish of the Overwatch graphics from the first person view animations. This YouTuber also posts other videos in his series (Extra Frames), where he talks about different elements placed into video games and why they work, fail, and how they compare to other platforms. He has other Overwatch videos in the series, but I have chosen Episode 7 (First Person Animation) because it specifically discusses claims I wish to make in my review, regarding character diversity and detail.