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  • Nick Cave has been singing about mortality for decades, and...

    Carl Court / Getty-AFP

    Nick Cave has been singing about mortality for decades, and he's really good at it. Whether the narratives are biblical or pulpy, the victims innocents or death row convicts, the circumstances comprehensible or cruelly random, Cave's songs are on intimate terms with the infinite ways a life can be extinguished. And yet, "Skeleton Tree", his latest album with his estimable band, the Bad Seeds, is a relatively concise song cycle shadowed by death that feels different than all the rest. Read the full review.

  • On "22, A Million," Justin Vernon reimagines his music from...

    AP

    On "22, A Million," Justin Vernon reimagines his music from the bottom up by letting technology — synthesizers, treated vocals, electronic sound effects — dictate. The songs retain their melancholy cast, but now must fight for air beneath static and noise. Read the full review.

  • The new album embraces her individuality more explicitly than ever,...

    Jean-Baptiste Lacroix, AFP/Getty Images

    The new album embraces her individuality more explicitly than ever, both more autobiographical and more politically and socially direct than anything she'd recorded previously. It's a rawer, less elaborate work than its predecessors, yet still hugely ambitious. Read the review

  • Kendrick Lamar's "Untitled, Unmastered" is presented as an unfinished work,...

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    Kendrick Lamar's "Untitled, Unmastered" is presented as an unfinished work, though it rarely sounds like one. Read the review.

  • Woody introduces the gang to a homemade spork toy with...

    Pixar / AP

    Woody introduces the gang to a homemade spork toy with self-esteem issues in "Toy Story 4."  Read the review.

  • "Lemonade" is more than just a play for pop supremacy....

    Lawrence K. Ho / Los Angeles Times

    "Lemonade" is more than just a play for pop supremacy. It's the work of an artist who is trying to get to know herself better, for better or worse, and letting the listeners/viewers in on the sometimes brutal self-interrogation. Read the full review.

  • On her seventh studio album, "Golden Hour" (MCA Nashville), the...

    John Konstantaras / Chicago Tribune

    On her seventh studio album, "Golden Hour" (MCA Nashville), the singer-songwriter doesn't get hung up on genre. She's made a style-hopping pop album that infuses her songs with a relaxed spaciousness while muting, but not ignoring, her country roots. Read the review

  • Now "Schmilco" (dBpm Records) arrives, a product of the same...

    Nuccio DiNuzzo/Chicago Tribune

    Now "Schmilco" (dBpm Records) arrives, a product of the same recording sessions that produced "Star Wars" but a much different album. Though it's ostensibly quieter and less jarring than its predecessor, it presents its own radical take on the song-based, folk and country-tinged side of the band. Read the full review.

  • "Blonde" is a critique of materialism with Frank Ocean employing...

    Jordan Strauss / AP

    "Blonde" is a critique of materialism with Frank Ocean employing two distinct voices, like characters in a play, a recurring theme throughout the album and perhaps its finest sonic achievement. A party spirals out of control, the music rich but low key, a melange of organ and hovering synthesizers. Ocean uses distorting devices on his voice to add emotional texture and to enhance and sharpen the characters he briefly embodies. The upshot: They're all little slices of Ocean's personality with a role to play and they each sound distinct. Read the full review.

  • Warpaint's unerring feel for gauzy hooks and slinky arrangements germinated...

    Chris Sweda / Chicago Tribune

    Warpaint's unerring feel for gauzy hooks and slinky arrangements germinated over a decade and flourished on the quartet's excellent 2014 self-titled album. But the band has always nudged its arrangements onto the dance floor — subtly on record, more overtly on stage — and "Heads Up" (Rough Trade) gives the group's inner disco ball a few extra spins. Read the review.

  • A grown-up Christopher Robin returns to the Hundred Acre Wood...

    Laurie Sparham / AP

    A grown-up Christopher Robin returns to the Hundred Acre Wood and his best friend Winnie the Pooh. Read the review.

  • Not many albums could survive Ed Sheeran performing reggae, but...

    AP

    Not many albums could survive Ed Sheeran performing reggae, but Pharrell Williams always took chances — not all of them successful — in N.E.R.D.Despite the Sheeran gaffe, "No One Ever Really Dies," the band's first album in seven years, is a typically diverse, trippy ride from the group that established Williams' career as a performer in the early 2000s alongside Chad Hugo and Shay Haley. Read the full review.

  • An Atlanta teenager (Amandla Stenberg) deals with the death of...

    Erika Doss / AP

    An Atlanta teenager (Amandla Stenberg) deals with the death of her friend in "The Hate U Give," director George Tillman Jr.'s fine adaptation of the best-selling young adult novel.  Read the review.

  • Risk-prone 13-year-old Stevie (Sunny Suljic, left) shares some of his...

    Tobin Yelland / AP

    Risk-prone 13-year-old Stevie (Sunny Suljic, left) shares some of his angst with one of the local LA skateboarding idols, Ray (Na-Kel Smith), in writer-director Jonah Hill's "Mid90s." Read the review.

  • Reunited for a family wedding, former lovers played by Penelope...

    Teresa Isasi / AP

    Reunited for a family wedding, former lovers played by Penelope Cruz and Javier Bardem find themselves embroiled in a kidnapping in "Everybody Knows," directed by Asghar Farhadi. Read the review.

  • "Black America Again" (ARTium/Def Jam) arrives as a one of...

    Nuccio DiNuzzo / Chicago Tribune

    "Black America Again" (ARTium/Def Jam) arrives as a one of the year's most potent protest albums. The album sags midway through with a handful of lightweight love songs, but finishes with some of its most emotionally resounding tracks: the "Glory"-like plea for redemption "Rain" with Legend, the celebration of family that is "Little Chicago Boy," and the staggering "Letter to the Free." Read the review.

  • "Love & Hate" shows Kiwanuka breaking out of that stylistic...

    AP

    "Love & Hate" shows Kiwanuka breaking out of that stylistic box. His core remains intact: a grainy, world-weary voice contemplating troubled times in intimate musical settings. The album announces its more ambitious intentions from the outset, with the trembling strings, episodic piano chords and wordless vocals of the 10-minute "Cold Little Heart." It's a striking, if atypical, approach to reintroducing himself to his audience — a five-minute preamble before Kiwanuka begins to sing. Read the full review.

  • A tropical island boat captain (Matthew McConaughey) and his much-abused...

    Graham Bartholomew / AP

    A tropical island boat captain (Matthew McConaughey) and his much-abused ex-wife (Anne Hathaway) enter a vortex of rough justice and fancy riddles in "Serenity." Read the review.

  • Penniless, driven, the Dutch painter Vincent van Gogh (Willem Dafoe)...

    CBS Films/Lily Gavin

    Penniless, driven, the Dutch painter Vincent van Gogh (Willem Dafoe) regards his next canvas subject in "At Eternity's Gate," directed by visual artist and filmmaker Julian Schnabel. Read the review.

  • Rose McGowan poses for a portrait in New York on...

    Taylor Jewell/Invision/AP

    Rose McGowan poses for a portrait in New York on Wednesday, Jan. 31, 2018, to promote her book "Brave."

  • Isabelle Huppert and Chloe Grace Moretz star in the thriller...

    Jonathan Hession / AP

    Isabelle Huppert and Chloe Grace Moretz star in the thriller "Greta." Read the review.

  • Sound often says it all in Drake's world, but "Views"...

    Frank Gunn / The Canadian Press

    Sound often says it all in Drake's world, but "Views" plays in a narrow range. The trademark hovering synths and barely-there percussion edge out most of the hooks, in favor of long fades and enervated tempos that start to drag about halfway through this slow-moving album. Read the review.

  • Elton John (Taron Egerton) lays down a track for his...

    David Appleby / AP

    Elton John (Taron Egerton) lays down a track for his express train to super-stardom in "Rocketman." The musical biopic co-stars Jamie Bell as lyricist Bernie Taupin. Read the review.

  • Childhood friends and uneasy lovers played by Yoo Ah-in (left)...

    WellGo USA

    Childhood friends and uneasy lovers played by Yoo Ah-in (left) and Jeon Jong-seo (center) find their lives disrupted by a mysterious man of means (Steven Yeung, right) in "Burning." Read the review.

  • Vanellope von Schweetz (voiced by Sarah Silverman) and Ralph (John...

    AP

    Vanellope von Schweetz (voiced by Sarah Silverman) and Ralph (John C. Reilly) zip around the web in a mad dash to save Vanellope's arcade game, "Sugar Rush," in this wild sequel to the 2012 "Wreck-It Ralph." Read the review.

  • In contrast, "Junk" (Mute"), M83's seventh studio album, sounds chintzy...

    Armando L. Sanchez / Chicago Tribune

    In contrast, "Junk" (Mute"), M83's seventh studio album, sounds chintzy — a bubble-gum snyth-pop album that indulges Gonzalez's love of decades-old TV soundtracks, hair-metal guitar solos and kitschy pop songs. Read the full review.

  • Unburdened by Batman and Superman, the DC Comics realm turns...

    Steve Wilkie / AP

    Unburdened by Batman and Superman, the DC Comics realm turns in a not-bad origin story buoyed by Zachary Levi as the superhero version of 15-year-old Billy Batson (Asher Angel). Read the review.

  • Cystic fibrosis patients Stella (Haley Lu Richardson) and Will (Cole...

    Patti Perret/CBS Films

    Cystic fibrosis patients Stella (Haley Lu Richardson) and Will (Cole Sprouse) negotiate a tricky mutual attraction in "Five Feet Apart," directed by Justin Baldoni.  Read the review.

  • Stephan James and KiKi Layne play Fonny and Tish, expectant...

    Tatum Mangus / AP

    Stephan James and KiKi Layne play Fonny and Tish, expectant parents in 1970s Harlem in the new James Baldwin adaptation "If Beale Street Could Talk."  Read the review.

  • This image released by Fox Searchlight Films shows Olivia Colman...

    Atsushi Nishijima / AP

    This image released by Fox Searchlight Films shows Olivia Colman in a scene from the film "The Favourite." (Atsushi Nishijima/Fox Searchlight Films via AP)

  • A late-night TV talk show host (Emma Thompson) faces falling...

    Emily Aragones / AP

    A late-night TV talk show host (Emma Thompson) faces falling ratings, personal crises and a blindingly white-male writers' room in "Late Night," co-starring and written by Mindy Kaling. Read the review.

  • "Everything Now" is a tighter but not better album. The...

    AP

    "Everything Now" is a tighter but not better album. The heavyweight arena anthems of Arcade Fire's 2004 debut, "Funeral," are long gone, replaced by brooding lyrics encased in lighter music. Read the review.

  • "American Dream" is a breakup album of sorts but not...

    Chris Sweda / Chicago Tribune

    "American Dream" is a breakup album of sorts but not in the traditional sense. This is about breakups with youth, the past, and the heroes and villains that populated it. It underlines the notion of breaking up as just a step away from letting go — of friends, family, relevance. Read the review.

  • A high-powered ad agency executive (Tika Sumpter, right) takes in...

    Chip Bergmann / AP

    A high-powered ad agency executive (Tika Sumpter, right) takes in her ex-con sister (Tiffany Haddish, center) in "Nobody's Fool."  Read the review.

  • Washington D.C. power brokers Dick Cheney (Christian Bale) and Lynne...

    Matt Kennedy / AP

    Washington D.C. power brokers Dick Cheney (Christian Bale) and Lynne Cheney have a date with destiny in Adam McKay's "Vice," co-starring Steve Carell as Donald Rumsfeld.  Read the review. Nomainted for: Best Picture, Best Actor for Christian Bale, Best Supporting Actor for Sam Rockwell, Best Supporting Actress for Amy Adams, Best Director for Adam McKay, Best Original Screenplay, Best Film Editing,

  • "Ye" isn't so much a musical statement as a 23-minute,...

    Chris Sweda / Chicago Tribune

    "Ye" isn't so much a musical statement as a 23-minute, seven-track therapy session. Read the review

  • Queen Anne's (Olivia Colman) court wrestles with the question of...

    Atsushi Nishijima / AP

    Queen Anne's (Olivia Colman) court wrestles with the question of how to finance a war with France. Lady Sarah (Rachel Weisz), the Duchess of Marlborough, uses her wits, her body and the queen's bed to coerce Anne into raising taxes on the citizenry in order to keep the off-screen battle going. Then the unexpected arrival of her country cousin, Abigail (Emma Stone), a noblewoman fallen on hard times. A dab hand with medicinal herbs, Abigail quickly rises above servant status to become the queen's new favorite. Game on! Read the review. Nomainted for: Best Picture, Best Actress for Olivia Colman, Best Supporting Actress for Emma Stone and Rachel Weisz, Best Director for Yorgos Lanthimos, Best Original Screenplay, Best Cinematography, Best Film Editing, Best Production Design, Best Costume Design,

  • "Peace Trail" — Neil Young's second album this year and...

    AP

    "Peace Trail" — Neil Young's second album this year and sixth since 2014 — is occasionally fascinating. It's also not very good, a release that surely would've benefited from a bit more time and consideration, which might have given Young's ad hoc band — drummer Jim Keltner and bassist Paul Bushnell — a chance to actually learn the songs. But the four-day recording session sounds like a getting-to-know-you warmup instead of a finished product. Read the full review.

  • Genie (Will Smith, right) explains the three-wishes thing to the...

    Daniel Smith / AP

    Genie (Will Smith, right) explains the three-wishes thing to the title character (Mena Massoud) in Disney's "Aladdin," director Guy Ritchie's live-action remake of the 1992 animated feature. Read the review.

  • On their new album, "Existentialism," the Mekons turn their audience...

    Armando L. Sanchez / Chicago Tribune

    On their new album, "Existentialism," the Mekons turn their audience and the recording space into accomplices for the band's high-wire act. Read the full review.

  • Capping the trilogy started with "Unbreakable" (2000) and the surprise...

    Jessica Kourkounis / AP

    Capping the trilogy started with "Unbreakable" (2000) and the surprise hit "Split (2017), Shymalan's treatise on superhero origin stories brings James McAvoy, Bruce Willis and Samuel L. Jackson together for a plodding psych-hospital escape.  Read the review.

  • The real stars of "Godzilla: King of the Monsters" are...

    AP

    The real stars of "Godzilla: King of the Monsters" are sound designers Erik Aadahl and Ethan Van Der Ryn. Their aural creature designs actually sound like something new — part machine, part prehistoric whatzit.  Read the review.

  • In "First Man," Ryan Gosling reteams with "La La Land"...

    Daniel McFadden / AP

    In "First Man," Ryan Gosling reteams with "La La Land" director Damien Chazelle to relay the story of astronaut Neil Armstrong, the first man on the moon. Read the review.

  • On "Here" (Merge), the band's first album in six years...

    Ross Gilmore / Redferns via Getty Images

    On "Here" (Merge), the band's first album in six years and 10th overall, the front line of Norman Blake, Gerard Love and Raymond McGinley once again trades songs (four each) and lead vocals, over sturdily constructed pop-rock arrangements. But the band has taken some subtle evolutionary turns to where it's now a faint shadow of its "Bandwagonesque" incarnation. Read the review.

  • When Aretha Franklin recorded her bestselling gospel album in early...

    AP

    When Aretha Franklin recorded her bestselling gospel album in early 1972, director Sydney Pollack's camera crew shot many hours of footage, unseen publicly until now. "Amazing Grace" is now in theaters.  Read the review.

  • Kanye West's "The Life of Pablo" (GOOD/Def Jam) sounds like...

    NBC

    Kanye West's "The Life of Pablo" (GOOD/Def Jam) sounds like a work in progress rather than a finished album. It's a mess, more a series of marketing opportunities in which West changed the album title and the track listing multiple times, to the point where the very thing that made West tolerable despite a penchant for tripping over his own ego — the music itself — became anti-climactic. Read the review.

  • Six miles beneath the Pacific Ocean surface, a team of...

    AP

    Six miles beneath the Pacific Ocean surface, a team of oceanographers and experts discover an entire hidden ecosystem laden with species "completely unknown to science." But Meg comes calling, attacking the submersible piloted by the ex-wife (Jessica McNamee) of rescue diver Jonas Taylor (Jason Statham). Read the review.

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Rose McGowan is comfortable with discomfort. She refuses to be labeled. And you know what? She doesn’t care if that makes you like her or not.

McGowan’s unapologetic nature was perhaps the only thing to remain consistent throughout the short-lived publicity tour for her new memoir, “Brave.” Each public appearance a bit more bizarre than the previous, it became clear that the actress, who emerged as a leader in the movement to stamp out sexual misconduct in Hollywood, was going to do things her way.

Her manner of speaking out veers from the traditional, poised approach taken by, for example, those leading the Time’s Up initiative, and the ensuing backlash appeared to be too much to handle. McGowan tweeted on Friday that she had “given enough” and canceled the tour.

“Brave” deals in part with McGowan’s quick and tumultuous rise to stardom, rocked by heightened public attention and sexualization. Known for starring in a number of indie films and the WB’s “Charmed,” her public persona shifted dramatically in October when she accused Harvey Weinstein of raping her in a hotel room during the 1997 Sundance Film Festival. Her book, dedicated to “all of us survivors,” refers to Weinstein as “my monster.” (Weinstein’s lawyer recently denied the allegations by cited emails from Ben Affleck and McGowan’s former manager.)

McGowan drew the ire of social media following an incident on Wednesday night deemed “transphobic” by many Twitter users. During a book tour stop at a Barnes and Noble in New York, Variety reported, a trans woman in the audience stood up to confront McGowan on comments she made on RuPaul’s podcast “What’s the Tee?” in July.

“Talk about what you said on RuPaul,” the woman said. “Trans women are dying and you said that we, as trans women, are not like regular women. We get raped more often. We go through domestic violence more often. There was a trans woman killed here a few blocks [away].”

After McGowan responded that she and the questioner “are the same,” the audience member retorted that the actress-turned-activist does nothing for trans women. The exchange escalated into a shouting match, ending with McGowan yelling into the microphone as the audience member, taken away by security, chanted “white cis feminism.”

“Shut the f- up,” McGowan said. “Get off my back. What have you done? I know what I’ve done, god dammit. . . . I’m not crying, I’m f—ing mad with the lies. I’m mad that you put s— on me because I have a f—ing vagina and I’m white or I’m black or I’m yellow or I’m purple.”

She ended the rant with, “I didn’t agree to your cis f—ing world. OK? F— off.”

The crowd cheered McGowan on, which further irritated Twitter users.

McGowan cited the incident as the reason for abruptly canceling her tour, claiming the trans woman was an actor “paid to verbally assault a woman who has been terrorized by your system.” (It’s unclear to whom the “your” refers.) She went so far as to call out “my publicists. . .assistants, managers and every person sitting in their chairs” on their “complicity,” apparently exhibited by their failure to respond to the chaos in a desirable fashion.

Later Wednesday night, McGowan made an exceedingly uncomfortable appearance on CBS’s “The Late Show with Stephen Colbert .” As Colbert brought up the Weinstein allegations and McGowan’s fellow survivors, she interrupted him to claim she was “the architect” behind the producer’s demise. Colbert, brushing the comment aside, asked if she had ever doubted “her picture of reality” amid others’ disbelief.

“No, I see things,” she responded. “Yeah, that’s not my issue. Don’t make your khaki-pants mind my problem.”

McGowan seemed to avoid Colbert’s line of questioning, instead criticizing the unpleasant feel of wearing a suit and the blandness of aforementioned khaki pants. The closest she came to cohesively addressing systemic sexism in Hollywood was when she told viewers to “shake it up, because otherwise we’re all maybe going to die sooner than we think.”

While the appearance inspired confusion more than anything else, McGowan characteristically took to Twitter to defend herself the next morning: “I am unusual, that IS the point. I do not care for formats or traditional thought. Every interview of mine is different, just like a mood.”

The growing consensus seems to be that while McGowan is incredibly brave for speaking out, she might not be the best spokesperson for the sensitive movement. And it’s not clear whether that’s what she even aspires to be, as she seems content to cut her own path. (She declined to speak to The Washington Post.) Though introduced at the inaugural Women’s Convention in late October by #MeToo founder Tamara Burke, McGowan has been incredibly critical of Meryl Streep and former “Charmed” castmate Alyssa Milano, two vocal supporters of the movement.

In a now-deleted tweet from December, McGowan criticized the decision of actresses like Streep, who have worked with Weinstein in the past, to wear black to the Golden Globes in support of the Time’s Up initiative.

“Actresses, like Meryl Streep, who happily worked for The Pig Monster, are wearing black @goldenglobes in a silent protest,” McGowan wrote, according to CNN. “YOUR SILENCE is THE problem. You’ll accept a fake award breathlessly & affect no real chance. I despise your hypocrisy. Maybe you should all wear Marchesa.”

Streep addressed McGowan’s criticism on Christiane Amanpour ‘s show in January, claiming she had no knowledge of Weinstein’s predatory behavior. On Wednesday, McGowan appeared on the CNN show and thanked Streep for her support. But that same day, she appeared on “Nightline” and said of Milano, who is credited with helping the #MeToo hashtag go viral, “I don’t like her. . . ’cause I think she’s a lie.”

Twitter users called out the lack of intersectionality – an acknowledgement of other marginalized groups within a movement – in McGowan’s activism after the argument at Barnes and Noble, and also after an incident in October. Responding to an ill-timed Weinstein joke that late night host James Corden made at the AmfAR Gala, McGowan tweeted: “THIS IS RICH FAMOUS HOLLYWOOD WHITE MALE PRIVILEGE IN ACTION. REPLACE THE WORD ‘WOMEN’ w/ the ‘N’ word. How does it feel?”

Some critics called her tweet “a reflection of white feminism,” and others have gone so far as to claim that to McGowan, “black women aren’t women.”

While McGowan eventually apologized for the tweet, it remains to be seen whether she will walk back her so-called transphobic comments.

When it comes to speaking out on her own struggles, she’s not standing down anytime soon. In a 90-minute interview Thursday night with Ronan Farrow, who wrote the Weinstein expose published in the New Yorker, McGowan discussed another “very famous” Hollywood predator. She declined to name him – though indicated that she would in the future – and chose to drive home her opinion on critics.

“I’m not here to defend myself to people,” she said. “Don’t believe me, you don’t have to, you just have to think. I survived. I have had to protect myself. I live between worlds, not in yours and not in theirs. There is no soft spot right now. There is no soft space to land.”

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Fierce, vulnerable, voluble: 36 minutes with Rose McGowan

Rose McGowan is right: Wearing black is no way to take a stand on the red carpet

Meryl Streep: ‘I wasn’t deliberately silent’ on Weinstein

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