“Killing Them Safely” shows the origins of Tasers

By Carter Glace

killing safe

A documentary film about the history, nature and use of Tasers might not sound like the most riveting ninety minutes of cinema, yet “Killing Them Safely” is one of the best documentaries of the year. It is an expertly crafted, fully realized dive into a tense, fast growing crisis that in the wake of growing misuse of tools by law enforcement, becomes all the more fascinating.

One of the tricks that makes “Killing Them Safely” a great documentary is that it approaches its subject more like a narrative film, with a broad arc and growth that evolves its subjects by the end. In fact, the film starts out as a sort of rags to riches story, two brothers forming a business that would revolutionize police work and save themselves from financial ruin. Beginning with their work in the early 2000’s, the film follows Tom and Rick Swift as they invented the Taser. After their initial struggles, they seemingly made a breakthrough with an effective, non-lethal weapon. And in an era of growing police violence and gun-based death, the Swifts brought a godsend by offering a guaranteed means of ending conflicts without bullets.

But when reports of Taser-based deaths begin rolling, the story takes a much darker tone. As questions about police abusing the tool arise alongside the brother’s efforts to deny or overrule any reports, and the growing realization of how lacking and unregulated the brother’s testing phase was, the Swift’s go from starry-eyed idealists who wanted to save lives to shady business men denying the truth and endangering lives for profit. And that only works because the documentary commits so whole-heartedly to making Tasers seem like a miracle of science, and the Swift’s a triumphant story of entrepreneurialism. First time director Nick Berardini let’s the viewer get swept up in the same cheery excitement that made the Taser seem like a savior.

The amount of behind the scenes videos of Taser’s creation, countless past and present interviews, and the disturbing footage of the many arrests and deaths of tasered individuals creates an all encompassing look into the Swift’s and their ‘miracle tool’s’ fall from grace. It also does a great job explaining the science and force of the weapon in very clear terms, opening the film with a Taser taking down a bison.

And although no documentary can be called objective, the sheer amount of content allows for it to feel the definitive story. The creators become visually more unnerving and countless interviews are shown explaining in plain terms how deadly these tools can be. Despite raising the specter of police forces inevitably abusing potentially harmful tools, multiple officers are given their say, presenting the moral dilemma presented now that they realize they have been deliberately lied to about the weapon they were using.

“Killing Them Safely” is a near flawlessly crafted documentary that dives into its subject better than anything else, creating a bleak, troubling work of investigative filmmaking.

Killing Them Safely opens in select theaters on Nov. 27.

Carter Glace is a Staff Writer. Email him at film@nyunews.com.

Hump Day Update: November 25th, 2015

By Rachel A.G. Gilman

hump day update
Via Marisa Hagerty at https://www.behance.net/marisahagerty

Welcome to Hump Day Update, the place to find out everything you need to know about what’s been going on in the entertainment world for the week. I’m Rachel A.G. Gilman. But enough about me, let’s get to the news.

Nickelodeon has announced that it is going to reboot the animated series “Hey Arnold” as well as produce a new TV film which will apparently resolve the unsettled plotlines all of us have been concerned with for the past eleven years. So, for all of you worried about the future of children’s television (or just really big fans of football head), your prayers have been answered.

As One Direction goes around the country doing press for their latest album “Made in the A.M.,” Niall Horan sent girls into a tizzy when he decided to wear a pair of circular specs in interviews. The glasses are only an accessory, but hey, it’s the image of brains that’s a turn on, right?

Among shows having their Winter Finales this week were Shondaland’s “Grey’s Anatomy,” “Scandal,” and “How To Get Away With Murder,” meaning #TGIT won’t be back until February of 2016. Sounds more like Winter Finale stands for let’s take the entire winter off and give people a chance to catch up on all the episodes already filling their DVR.

What could potentially be the last Coldplay album, “A Head Full Of Dreams,” is set to drop on December 4th, and it will feature a long list of guests, including Chris Martin’s ex-wife Gwyneth Paltrow and President Obama. Hey, that is probably considered ending with strength, as my creative writing professor tells us, but I’d prefer if this weren’t your grand finale!

CBS, a network, which hasn’t cancelled one show, yet this season, ordered five more episodes of their new medical drama “Code Black” despite so-so ratings. Hey, CBS, if you’re “America’s Most Watched Network,” why can’t you get a few more people to tune in? Maybe you should use that as a marketing strategy (you already watch our others shows, why not this one, too?).

The American Music Awards happened this Sunday, and if you weren’t distracted from Jennifer Lopez’s ten outfit changes, then you were definitely struck by Meghan Trainor and Charlie Puth’s make-out session following their performance of their duet “Marvin Gaye.” Both artists followed the performance by clarifying they are just friends, but personally, I think that kind of sounds like the start of another great duet.

In other couples news, Justin Bieber and Selena Gomez may be back on once again. On Friday evening in Los Angeles, Bieber serenaded Gomez with “My Girl” after he performed a piano version of his newest single “Sorry,” and of course, the whole thing was filmed and posted online just moments after. Some girls get apologies in the form of badly written text messages, some get songs sung in their honor. Just another reason the world isn’t fair.

HBO announced this week they are in production for a new show entitled “Divorce,” staring Sarah Jessica Parker. No more information was given about the project, but if it’s about what happened to Carrie and Mr. Big after the last film, I always thought she should’ve gone with Aiden, anyway.

And finally, in the spirit of Thanksgiving, ABC had its annual airing of the 1973 holiday special “A Charlie Brown Thanksgiving” yesterday, which they followed up for the finale of “Dancing with the Stars.” I thought we were done with Halloween, ABC—sounds like a treat followed by a trick!

Hope you enjoyed this week! See you back here next Wednesday, and Happy Thanksgiving!

Rachel A.G. Gilman is a Highlighter Staff Columnist. Email her at entertainment@nyunews.com


Trending Tuesdays, VI: Missy Elliot’s Lukewarm Comeback

By Arlene Lormestoire

Via Notion Magazine

After nearly seven years of inactivity, Missy Elliott’s single “WTF (Where They From)” feat. Pharrell Williams was released along with a music video that was more about the baggy pants and sparkly lipstick.  Hearing “WTF” was fairly satisfying, but somehow not enough. The lines sounded like Elliot, but failed to give the extra energy that the song required. Pharrell’s boring rapping complimented this factor, adding nothing to the the life this song desperately needed

Elliot’s rap style doesn’t shine as bright it did a few years ago with “Work It” and ‘Lose Control,”with her opting for a banal chant that might be heard on a grade-school playground in exchange for finesse in her verse. The use of onomatopoeia and irreplaceable quirkyness in the lyrics create a well written song, but a childish one. However, her rap flow and timing pair well with the Pharrell-made beat. Unlike other hits, her lyrics do not shine through like they should but fall behind the beat, causing any listener to ignore the true art of the lyrics.

Perhaps the most “WTF” moment occurs in the chorus. Before moving to the next line, Elliott holds out the last syllable of the word, weirdly creating the sound of bees buzzing. This style resurfaces throughout the song, causing anyone to question the necessity of such a style. Is this the new  catchy? The innovative structure of a song in 2015? Either way, it is evident that only Missy Elliott can pull this off.

Questionable at best, the song is catchy and funky. It brings back memories of the early 2000s with a twist of present-day technique. Although the rapping could have been highlighted above the beat, the production is flawless. The rhythm can cause anyone to bop their head along. Creative bee-like chorus aside, Missy Elliot is back in the rap world; step aside or bow down.

Arlene Lormestoire is a Highlighter Staff Columnist. Email her at music@nyunews.com

Tisch’s Meisner Studio’s presents a powerful rendition of ‘Blood Wedding’

 by Emma Gordon

Via Deerfield

The usually open Cabaret space at 721 Broadway was shrouded in billowing airy curtains. The black floor now sports beige and gray paint creating a stone floor effect and the area is boxed in by two long airy sheets. The audience sits on the far side of the room four rows deep and soon the lights dim and the actors take the stage.

The story is one of love, of revenge, of family pride, and betrayal. This past Thursday through Saturday the Meisner Studio’s third year students put up a production of Blood Wedding, a Spanish play written by Federico Garcia Lorca and translated by Michael Dewell and Carmen Zapata. The play follows characters who have been ravaged by family feuds and bloodshed as they prepare for a wedding, the last remaining son of one family to a girl who was once engaged to the son of the family that destroyed her fiancé’s. Through beautiful folk songs and wondrous poetic dialogue you are taken through the heartbreak and betrayal that the wedding gives onto and you’re left with a feeling of despair over what has become.

Set in the second floor cabaret space in the Tisch building, the play is given a truly intimate feeling as the actors are not only on the same plane as the audience but also only inches from them. When the space above the audience is used as a fourth wall space and the players are so close, one is truly drawn into the production and the feel of the story.

All of the performances were incredibly powerful in the characters they had to portray. A grieving mother who has yet to forgive the murderers of her family in Eva Topolovec, an eager bridegroom in Peter Williamson, the troubled bride to be in Janessa Floyd and even the eerie presence of the Moon by Buchannan Highhouse and the being of death in Joeley Pulver. The entire cast in every character they brought to life was absolutely stunning, powerful, and truly alive and real in their emotions.

One felt Caroline Grogan’s pain as the cheated wife, or the anger of the mother in Lucy Livingston by the furious nature of the husband in Azzy Coppin. Felt the eerie sensation of the woods through the woodcutters, Casey O’Neill, Brian Breen, and Lucy Livingston and felt the excitement of waiting for the wedding from Helena Farhi and the pain of a father through Nate Shinners.

Though there were moments when the play itself seemed to dragged, particularly in the mother’s constant reminder of how her son and husband and family is dead, the show as a whole brought about fear and longing from the audience. Fear of what is to happen yet longing for wanting something to come about.

Overall with the use of the original music for the text the show as a whole created a very real, yet unrealistic world somewhere in Spain and through the talent and passion brought by these young actors, the audience was able to travel there as well.  

Emma Gordon is a Contributing Writer. Email her at theater@nyunews.com

Pages With Patel, VII: Argosy Bookstore

By Nishta Patel

Via The Black Letters

“New York City’s Oldest Independent Bookstore”

Since 1925, Argosy Bookstore (E 59th Street and Park Ave) has stood the test of time; it has stayed in the same historic location for 90 years now—a feat that is rare in the city nowadays, especially with bookshops. Even Rizzoli Bookstore’s iconic building was redeveloped, causing the shop to move downtown. But, Argosy has triumphed amongst the transience of New York City. Now onto a third generation family ownership, their collection has expanded and now spans an entire 6-floor building.

Walking into Argosy is like walking into the past. Leather bound books with gold embossed titles line the shelves. While there are new architecture, art, and other specialty books, the main features are the rare books. Hundreds of those line the dark wooden shelves—it is as if you stepped into some royal’s official palace library.

Almost like a museum, one can peruse through authentic books from the 16th and 17th centuries. Medieval romance with decorative bindings, large Shakespeare volumes, and beautiful histories of the Roman Empire are among the gems found on the shelves. There are so many books to look through from the first edition of A Farewell to Arms to a $10,000 collection of Tolstoy stories. However, not all of them are ridiculously expensive, there are $25 dollar leather bounds in the front to complete anyone’s book collection.

The upper floors contain more books, an art gallery, prints, and antique maps. One can flip through 16th and 17th century map renderings of various countries, states, or regions. These authentic maps can be purchased or simply admired. To complement the antiquarian merchandise, the building itself is about 100 years old. Even the old elevator, complete with a cage, is not self-service; someone literally takes you up and down—just like in the old movies.

It is easy to get lost in Argosy’s expansive collection of rarities—things that seem like they should be displayed in museums. Despite the disappearance of bookshops in Manhattan, Argosy has stood tall and proud for 90 years. It is the fighting spirit and remarkable collection that allows it to prevail amid the ever-changing city.

Nishta Patel is a Highlighter Staff Columnist. Email her at books@nyunews.com

Tisch Alums Wind Back The Clock With “A Clockwork Orange”

By Annaluz Cabrera

Via Top Yaps

Anthony Burgess’ novel, “A Clockwork Orange,” springs to life in director John Bateman’s theater adaptation of the same name. It is a brilliant spectacle of violence, anger, bloodshed and a surge of emotions that surpasses those seen and felt in the film version by director Stanley Kubrick. Performed at the Roy Arias Stage 7 Stage Theatre by the Hubris Theatre Company, the play centers on teenage narrator, Alex — played by Tisch alumnus Alex Tissiere — and his three friends. The supporting cast includes Tisch alumnus Sam Finn Cutler, Steve Bono Jr. and Luke Wehner.

In the show, the gang of teenagers rape, beat and kill several people without remorse. Alex, the main character, is eventually arrested and goes under a series of government-proposed psychological treatments that cause his body to react in pain when he has any violent or sexual thoughts. Thus, he loses the freedom to choose to be good or evil. Bateman does an impressive job of mixing nudity with violence in scenes that shock the audience and enable them to realize that although what is happening on the stage is fictional, it is very much similar to the reality of the daily, small and unintentional violences we inflict upon our bodies, but the play acts this out in larger magnitude. Burgess’ cautionary novel, written over 50 years ago, comes to life in this play.

The play is innovative in that it uses modern elements that can be experienced through technology and costume. While waiting for the performance to start as well as during a few select moments during the show, two large television screens play a series of short clips featuring adults and children fighting, vintage porn and present day scenes from Black Lives Matter protests.

It is a mesh of violent and sexual imagery that cause the audience to reflect on the glorification of such material. Furthermore, the hoodies, leather jackets, boots and fashionable clothing that the narrator calls the echo of popular fashions of younger generations. The use of cellphones to record some of the fight scenes on stage only makes the scenes more convincing.

With such sensitive topics at hand, it is incredible how the actors portray their characters, even managing to elicit sympathy from the audience. Tissiere does an exceptional job with his character, Alex. His maniacal expressions, almost-visible internal conflicts and cries of agony are extraordinarily believable and moving. The audience comes to see him as another victim of his violent surroundings.

The stage combat employed in the show by multiple characters, which includes the use of knives, blades and even whips, is impressive. It is unbelievable that the actors don’t end up with fractured bones and bruised faces by the end of the insane display of violence and brutality throughout the play. All in all, it is outstanding and it is a performance that will surely initiate conversations on the matter of freedom of choice for all who see it.

Those unfamiliar with the book or movie, should know that “A Clockwork Orange” contains graphic depictions of sexual aggression and violence that can be triggering to survivors.

“A Clockwork Orange” closed last month.

Annaluz Cabrera is a Contributing Writer. Email her at theater@nyunews.com

Tisch sophomore stages Off-Broadway show

by Annaluz Cabrera

Via Jake Rosenberg for WSN

This month, dramatic writing sophomore Jake Rosenberg premiered his new play, “Brothers” which tackles the issues of fraternity hazing and institutionalized expectations of masculinity. “Brothers” debuted on November 7th at New York’s Manhattan Repertory Theatre and simultaneously debuted at New Orleans’ Tulane University.

WSN: This isn’t the first time you have had a show in Times Square, correct?

Jake Rosenberg: It’s my second show and this time it is more professionally managed. Everyone is a student and it shows the payoff of learning. The show affects many people personally so I am very excited to see reactions.

WSN:  Are you in a fraternity? What drew you to that particular subject?

JR: I am not. But many of my friends and family members have. My connection to it is this idea of masculinity. I’m a research junkie. I wanted to spend years investigating not what I already know but fascinating facts about how fraternities and hazing work. Fraternities are situated at cruxes of power, finance, and law. I was attracted to the idea of the whole world and the problem that it is. Deaths occur more frequently and there is a type of disconnect about how we talk about things like that, how we brush certain issues under the rug.

WSN: Do you think you will face any backlash especially with recent events such as what took place in the University of Indiana or recent deaths due to hazing?

JR: It hasn’t been coincidental. It is an ongoing problem, not out of the ordinary at all. It happens in ongoing cycles. Rolling Stone might write something about reform but it’s not soon enough. It becomes more urgent every day. If we look with more scrutiny, we are 70 years too late.

WSN: Do you mean for your play to be entertainment, for it to bring awareness to the issue at hand, or for it to be a moral lesson? Who is your target audience?

JR: Young college men are my target audience but the play is intended for everyone. I am not proposing reform but want to make people more aware. It is supposed to be shocking, disturbing, not because it is violent or because of the swearing but because it presents the truth—emotional truth. Why are people killing each other? It doesn’t tip-toe around the issue, I want to be upfront about it. It isn’t about calling people out, it’s no grand conspiracy—but there is too much evidence to ignore. Fraternities re connected to so many systems of power. Then there is the issue of masculine institutions—that idea is very harmful. I want people to think for themselves.

WSN: Is there anything in particular you think the audience should watch out for?

JR: I encourage them to sit near the front.

WSN: You have produced your own plays. Is “Brothers” self-produced? How do you balance that with your schoolwork?

JR: Balancing isn’t really an issue because my career is heavily involved in my schoolwork. Deadlines are aligned and students collaborate—Gallatin and CAS students are the actors.

WSN: In general, how do you pick what you write about? And how has your instruction at Tisch affected your style?

J: My hobby is spending time on Wikipedia. I like to go through an entire one every day—I love getting lost in hyperlinks, going down a rabbit hole, and seeing how histories connect. At Tisch I have to write quickly. It is good for me because I learn to not spend so much time on research. There is more invention because deadlines are both motivational but also cause me to write whatever. Sometimes the quality is affected but it is good training.

WSN: You are also an actor and director. What do you enjoy doing most?

JR: I love the writing process but I also want to keep directing.

WSN: What’s next for you?

JR: I’ve been working on a four year project. It’s a Jewish fantasy epic—like a Jewish Lord of the Rings. Theologians like Tolkien and other great writers write based on Christian philosophies and traditions. I want to write fantasy based on a different heritage. I hope to be done with it soon.

Annaluz Cabrera is a Staff Writer. Email her at theater@nyunews.com

Save Ferris, VI: “Rambo” or Sylvester Stallone’s “King Kong”

By Michael Dellapi

Via Genius

I want to preface this piece by saying that I didn’t particularly like  “Rambo,” and I was rather surprised that my feelings were like this. I have always been a supporter for the absurd popcorn flicks that were the action movies of the eighties. In the case of “Rambo: First Blood,” however, I found myself becoming increasingly bored. Whether most action movies are centered around gratuitous explosions and abysmal one-liners, “Rambo”  felt surprisingly tame. Never in my lifetime did I ever expect a Stallone movie to be referenced as tame, but here we are. However, I found myself seeing an interesting parallel between the film and films of a completely different genre. Oddly enough, “Rambo”  has a lot more in common with a typical monster movie than it does with films of its intended genre.

John Rambo rips apart a small town in Washington in the same way that Godzilla ravages entire city blocks in Japan. It is absolutely astounding to see one man leave so much devastation in his wake with such limited resources. Whereas some characters could be described as a ticking time bomb, Rambo is a natural disaster in camouflage and ripped jeans. It is here that “Rambo”  most immediately diverges from typical action movies and enters the realm more closely akin to a monster movie. However, in order to better understand this concept we need to explore just why Rambo is so determined on laying waste to Hope, Washington.

In the case of most monster movies, an explosive tirade begins due to a combination of captivity and exploitation. This is no different in Rambo’s case. Rambo is immediately treated with hostility on behalf of the town’s police force. It is never exactly clear as to why the sheriff immediately despises Rambo so much, perhaps he’s just evil for the sake of the plot. Regardless, Rambo is incarcerated and subject to abuse by the prison staff whereupon he breaks free and brings destruction to wherever he goes. It immediately called to mind the situation of “King Kong” after first viewing.

The creature in the aforementioned film is imprisoned and likewise manipulated, thus filling it with pure unadulterated rage. Rambo’s course of action is practically identical, and more parallels can be drawn by the way in which Rambo’s oppressors react to his escape. They describe Rambo as having a level of strength unlike anything they’ve ever seen. His cunning is on par with the Predator, picking off victims one by one. It’s astounding just how well this seemingly by-the-numbers action movie can parallel a completely different genre of film. Where this film apparently fails in what stereotype, it shines in another.

Michael Dellapi is a Highlighter Staff Columnist. Email him at film@nyunews.com

Sandra Bullock shines on “Crisis”

By Anubhuti Kumar

Via The Slanted

The much anticipated new Sandra Bullock starrer, “Our Brand is Crisis”, has finally made its way to theaters and is definitely worth the watch. The film follows campaign strategist Jane Bodine’s, played by Bullcock, determined plan to win the presidential election for her candidate, Pedro Gallo. Pedro Gallo is a strong willed capitalist who hopes to bring financial stability and economic development back to his country, Bolivia, struggling with the deepest depths of poverty, to lead the country out of a crisis.

This movie is based on a 2005 documentary of the same name that details the 2002 presidential campaign of Bolivia and the American strategies that Greenberg Carville Shrum, a political consulting firm used to win the election. Yet Gallo was not the only politician to hire a foreign firm to manage his campaign. His biggest competitor, socialist Victor Rivera, also had the same idea and hired the only strategist able to to bring the legendary Bodine out of her peaceful early retirement between mountains making Native American pottery. Her worst enemy since the beginnings of her career, Pat Candy, played by Billy Bob Thorton, who has manage to beat her in every campaign they have faced each other and done it with arrogance and repulsively.

The camping looks hopeless at first glance, and Bodine is quick to mention their trailing at 8% while Rivera leads in the 20s. Bullock’s portrayal of the brilliant strategist is the highlight of the film and she develops a character that is hard not to root for in her effort to secure a victory. The perfect balance between comedic and emotional acting, Bullock pulls off a character with depth and flaws and a sense of humor in a tense career, with bits and pieces of the character to which all audiences can relate.  From impassioned speeches to arouse canvassers to work to drunken mishaps to personal grudges and self respect, Bullock moves through all aspects of her character personality easily and convinces Bolivians that only her candidate can fight their crisis.

The film is an interesting and insightful look into the political process. The corruption, the backbiting, the superficiality, and the passion. “Our Brand is Crisis” depicts the political climate and situation in the early years on the 21st century, bringing to a wide audience the struggles and issues that Bolivia faced in its recent history. It effectively portrayed the multifaceted problems and the multitude of viewpoints that voiced their solutions to it. From socialism, to disillusionment in their government, to sacrificing the hardworking backbone of the country for the future wealthy of joining the global economy.

This film manages to combine essential content with exceptional acting to create the latest must see Sandra Bullock performance. “Our Brand is Crisis” delivers serious and thought provoking plot based on real, important stories of very recent South American politics and crises that were probably relatively unknown to the general American population before this film, while still being entertaining enough to hold the attention of the audience.

Anubhuti Kumar is a Staff Writer. Email him at film@nyunews.com

Libertines Grow Up On “Doomed Youth”

By Adil Akbar

Via Wikipedia

A while back, a new Libertines album seemed as likely to happen as a new Oasis album. Yet it seems a miracle happened, and 11 years after their last album, they come out with “Anthems For Doomed Youth.”

Now the first thing that you’ll notice is that The Libertines in 2015 seem sobered and hungover. The youthful optimism that oozed from Up The Bracket and the not-so-subtle digs that were passed around in the self-titled album have been thrown out. In the opener, “Barbarians,” Pete screams to himself: “What are you doing, you stupid, fucking idiot? Wake up!” They’ve have always been very good at writing about themselves, but now, after all that’s happened, they’re finally looking at themselves clearly. They’re no longer shifting blame around, and we’re given an album that reflects this.

If you’re looking for some sign of the decadent punks that produced “Horrorshow” and “What a Waster”, they’re still here, in songs like Fury of Chonburi” and “Glasgow Scale Coma Blues.” On these tracks they channel their younger selves, but it is also on these tracks that they seem less interesting and more easily-forgotten. The album is instead at its best when showing off their new selves, like on  “You’re My Waterloo” and the title track. “Waterloo” shows them at their most tender and one of Pete’s best vocal performances. The title track, however, takes a stab at their old dream, Albion; “Where are all the dreams now/ The battalions, once so proud/ Lost in some old song and hanging on old barbedwire.”

The boys no longer seem set on conquering the world with frenzied anthems and bangers. Rather, they’re now emphaizing song structure and melody, with a more polished sound courtesy of producer Jake Gosling whose credits include One Direction’s What Makes You Beautiful. The polished production is most apparent “Fame and Fortune,” which recalls Blur at the height of Britpop, a fun turn that doesn’t take itself seriously. But perhaps the best thing to come out of this album are the lyrics, the musings on their broken lives. Take, for instance, Carl’s account of their signing to Rough Trade in the aforementioned song, “The trade was rough/ Dublins down for a double bluff/ Dip your quill in your bleading heart / Sign there and there and there.” Or when Pete takes on himself in “Heart of the Matter”: “No one can hold a light to your misery/You’re number one/ Being hard done / Hard done by.”

Even with a matured sound and outlook, Anthems For Doomed Youth doesn’t quite reach the heights of the first two albums. Yes, it’s a miracle that a reunion album can even be this good but it still sits in the gray space of being “okay” and seems more of a starting point for the next chapter in the Libertines’s story. However, with a start like this, it seems that the Libertines have more life in them yet.

Adil Akbar is a Contributing Writer. Email him at music@nyunews.com