You know something has really taken off when its name becomes a verb in everyday conversation. In the case of Internet search engines, “Just Google it” has become the universal answer to any and every question, replacing phrases like “Look in an encyclopedia” or “Go to the library.” However, a few things never really cross the mind of the average person: How exactly does Google operate at its Mountain View, Calif., headquarters? And more importantly, how do I get a job there? The new movie “The Internship” (out June 7) answers these questions with a surprising amount of hilarity and emotional depth that tackle modern-day issues like employment. The film was directed by Shawn Levy, a director who is no stranger to comedic and character-central films (“Big Fat Liar,” “Night at the Museum,” “Date Night,” “Real Steel”). His newest project reunites the comedy duo of Vince Vaughn (who co-wrote the screenplay) and Owen Wilson in their first movie together since 2005’s “Wedding Crashers.” In short, this movie is just the piece of summer fun that you’ve been looking for.

 The comedy duo of Vince Vaughn and Owen Wilson star in Shawn Levy’s new film, “The Internship” (out June 7). The highly comedic movie tells the story of two older salesmen who lose their jobs and end up as interns at Google headquarters in California.

“The Internship” focuses on Billy McMahon and Nick Campbell (Vaughn and Wilson, respectively), two salesmen who are so good at what they do that they could sell bacon to a rabbi. Their company, run by John Goodman (who also had a small cameo in May’s “The Hangover Part III”), is shut down due to technological advances. Human interaction is no longer needed, which Wilson equates to the beginning of an apocalypse like the one in “Terminator.” About to spend the rest of their lives at boring, dead-end jobs, the two friends narrowly land internships at Google, where they must compete against an army of younger and smarter newbies (known as “Noogles”) for permanent jobs. And that’s where the fun begins.

The movie takes the fish-out-of-water route as Nick and Billy, products of the disco era, find themselves completely baffled at how out of sync they are with the modern era. It’s like watching Rip Van Winkle trying to write computer code. This contrast is the movie’s main comedic draw that results in hilarious scenes like Billy unwittingly proposing an Instagram-like app that he calls “Exchange-a-gram.” The Vaughn-Wilson chemistry hasn’t changed since 2005; the two are perfect together as they bicker endlessly, never giving anyone else a chance to talk during a webcam interview that involves a blender-related question. What makes them so likable is their relatable flaws that land them in trouble. They’re the embarrassing dads that many teenagers wish they didn’t have.

Chock full of pop culture references that the two “geezers” struggle to understand, the movie is a nerd’s paradise: “Star Wars,” “Harry Potter,” “Back to the Future,” “X-Men,” and cosplay to name a few. Even dark sides of the nerdiverse like hentai and tentacle porn are briefly mentioned. The soundtrack is a catchy compilation of young people’s artists like B.o.B., Locksley and Flo Rida. During their internship, the leads are placed into Team Lile (led by Josh Brener, that guy from those Samsung Galaxy S3 commercials), a ragtag group of misfits where each person has a unique set of problems that are cliched yet quirky. There’s the one guy who hides behind his cell phone, the girl with sexual fantasies influenced by “Star Wars,” and the kid who plucks out his eyebrows to punish himself. These characters are played by unknown actors, allowing us to focus on them as people and not as celebrities.

As the film progresses, Nick and Billy unknowingly take on fatherly roles, helping these outcasts come out of their shells, taking them out to drink and getting them their first lap dances, learning something about themselves, and discovering their “Googliness” along the way. The greatest part about this movie is not the protagonists’ interactions between themselves but their interactions with others. For instance, Wilson is once again the lady killer, pursuing Rose Byrne’s Dana, an Australian Google employee whose life is full of regrets. Although this storytelling tool has been used before, it works here thanks to colorful characters and bonding of the group members as we follow them from a set of divided individuals to a cohesive unit.

This group competes against others in a series of interesting challenges (for which Nick and Billy are grossly inept) over the course of a summer. The program is run by Mr. Chetty, played by Aasif Mandvi of “The Daily Show.” Of course, this contest wouldn’t be complete without a villain who comes in the form of Brit Max Minghella, the Slytherin to Team Lile’s Gryffindor. That being said, there is an enjoyable and intense Quidditch match at one point in the movie.

If you never considered working in the technology industry, you might want to think again because Levy and his crew romanticize Google as a Dr. Seuss, sci-fi, amusement park place of occupation. All the food is free, and there are slides and even napping pods where the director gets a quick cameo. We also get welcome cameos from Will Ferrell as a tattooed, sex-crazed mattress salesman and Rob Riggle as a motorized scooter salesman who sleeps with elderly women. With its sleek design and trademark red, blue, yellow and green color scheme, Google headquarters looks like the perfect place to spend your pre-retirement days. Even postcard shots of the Golden Gate Bridge at dawn made me want to pack up and move out West.

At the end of the day, the movie’s underdog, romantic coming-of-age plotlines all mesh together perfectly with everyone getting what they want by the heartfelt, albeit formulaic, ending. The end credits are also impressively creative. However, the movie reminds us that in a modern world of impersonal technology, it’s sometimes easy to forget that human emotion and interaction are what really matter. Not sure? Just Google it.

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Sorry, Stanley Kubrick, but why couldn’t J.J. Abrams have faked the moon landing? After seeing his new movie, “Star Trek Into Darkness” (released May 17), I’m sure it would have been a space adventure of epic proportions starring Neil Armstrong and Buzz Aldrin with music by Michael Giacchino. Following up 2009’s “Star Trek,” Abrams returns viewers to the lens flare-filled world of Star Fleet and interstellar travel with this exciting and action-packed sequel, which, in my humble opinion, is better than the critically acclaimed 2009 reboot.

Released May 17, “Star Trek Into Darkness” is a sequel to 2009’s “Star Trek.” The film was directed by J.J. Abrams and features an all star cast portraying the iconic characters from the original television series. Chris Pine (right) and Zachary Quinto reprise their roles as Capt. James Kirk and Comdr. Spock, respectively.

Abrams brought back screenwriters Roberto Orci and Alex Kurtzman (both were writers for the first film), who skillfully crafted the clever script of the sequel, with the addition of Damon Lindelof (“Prometheus” and co-creator of “Lost”). Filled with throwbacks, amazing visual effects by George Lucas’ Industrial Light & Magic, exciting action sequences, a cohesive and understandable plot, smart dialogue, terrific performances, and a great score, this film provokes an instant “nerdgasm” for Trekkies and science fiction fans alike. This is truly the first blockbuster of the summer that really delivers!

The sequel starts off at warp speed, and its momentum only grows over the course of its two-and-a-half-hour runtime. “Into Darkness” opens in an “Indiana Jones” style with Capt. James Tiberius Kirk (Chris Pine) and company running from a group of spear-chucking natives who look a bit like the Engineers from last year’s “Prometheus” on a Class M planet covered in beautiful red foliage known as Nibiru (interested yet?). The mission is to render an active volcano inert before it wipes out the indigenous people, which entails an exciting sequence of lowering the logic-driven Spock (Zachary Quinto) into a boiling volcano with a device that turns the molten rock into solid stone. While this mission almost compromises the first officer’s life, it also goes against the Prime Directive that prohibits interfering with alien civilizations. Needless to say, this suspenseful first scene is just a taste of things to come, and I was instantly hooked.

The main focus of the film is underway when Star Fleet comes under attack from John Harrison (“Sherlock”’s Benedict Cumberbatch), a manipulative one-man killing machine with superhuman capabilities, an infamous villain from the original television series.  Cumberbatch’s villain is menacing and unreadable, making us guess what his next move will be. To put it into perspective, he is Star Trek’s version of Loki from “The Avengers.” Throughout the movie, he is able to blow up a Star Fleet intelligence base known as Section 31 under a London archive (named after Abrams’ grandfather, Kelvin), attack Star Fleet headquarters, crush someone’s skull and take out a group of Klingons singlehandedly.

Kirk and his crew take on the mission to pursue Harrison and bring him to justice. The whole gang comes back together, from the hilarious, wise-cracking Scotty (Simon Pegg) to the no-nonsense Dr. Leonard “Bones” McCoy (Karl Urban) and his iconic catchphrase, “Jim, I’m a doctor, not a(n) (other profession).” Alice Eve plays newcomer Dr. Carol Marcus, a character with a link to one of the film’s villains. Other than that, the British blonde bombshell doesn’t do much except give Abrams the opportunity to include some brief nudity.

Along the way, the crew of the Enterprise encounters some twists, betrayal and action. Pine is perfect as the cocky yet brave captain of the Enterprise who uses the rules more as guidelines. None of that Shatner overacting here, thank you very much. Like a true playboy, he’s flying through space one minute and enjoying intimate time with a pair of sexy alien chicks the next. Quinto was the logical choice for the role of Spock the pointy-eared commander who lets his human side creep out of his hardened Vulcan exterior at just the right moments, especially when it comes to his relationship with Kirk. Nevertheless, some diehard fans of the series may object to his romantic involvement with Lt. Nyota Uhura (Zoe Saldana), something that deviated from the original series and films. Still, one must keep in mind that Abrams created an entirely new timeline in the first film in order to distinguish these movies from the originals and manipulate the story as he saw fit. As a result, some famous occurrences are flip-flopped here. Nevertheless, a funny scene has Spock and Uhura bickering like an old couple of the future. As the crew cruises through space, we get breathtaking and realistic-looking shots of nebulas and planets, something I have dubbed “galaxy porn.”

The action sequences are beautifully destructive arrays that grab you by the collar and never let go. All of them are suspenseful and climatic and involve the Enterprise plummeting to Earth (think of it as “Titanic” in space!), a starship crashing into the San Francisco headquarters of Star Fleet, and an exciting fight between Spock and Harrison. There are plenty of explosions along the way, and the effects are top notch, making the action feel real.

I was lucky enough to see this movie with my father, a fan of the original series and movies, who was able to point out all the references to Gene Roddenberry’s 1960s television series that only ran for three seasons on NBC. Tribbles, phasers, Nurse Chapel (Spock’s original love interest) and Leonard Nimoy (the original Spock) are just a few of the throwbacks included in this movie. My dad also assured me that the sleek look of the Enterprise has not changed since he was a kid, a real sign of dedication and reverence for the source material. The overall look of the film is a sci-fi nerd’s dream, as Abrams constructs an expansive futuristic playground for his characters. It is a world of spherical ice cubes, self-tying seat belts, cryogenics and dilithium crystals that make interstellar travel possible. The color tone of the film is somewhat gray, denoting the impersonal, more calculating feeling of a future filled with technology that takes care of all our needs.

The film’s music was done by Giacchino (“Up,” “Ratatouille,” “Super 8”), the extremely talented music man who has been a longtime collaborator with Abrams, evoking the Spielberg-Williams dynamic. His epic and horn-filled score fills us with wonder and emotion as we traverse through space with such colorful characters. As the final credits role, his adventurous rendition of the show’s original theme is just perfect.

Abrams is truly the master of his craft, proving that he can crank out satisfying movies from original and adapted material. While directing television adaptations of “Mission: Impossible III” and “Star Trek,” he also wrote and directed 2011’s Spielbergian nostalgia fest “Super 8.”. The man behind “Lost,” “Alias” and “Fringe” has proven his sci-fi worthiness, and it is for this reason that I have no doubt that he will do great justice to the seventh “Star Wars” film, slated for a 2015 release. From what we’ve seen thus far, I think you can trust Abrams to boldly go where no man has gone before.

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Who’s ready to let the dogs out again? Because the Wolf Pack is back in “The Hangover Part III.” The film, out May 23, reunites the iconic group of everyone’s favorite man-child Alan Garner, pretty boy school teacher Phil Wenneck, pathetic dentist Stu Price, and Doug Billings (Zach Galifianakis, Bradley Cooper, Ed Helms and Justin Bartha, respectively) for one last hurrah of debauchery and over-the-top hijinks. Working from a script he co-wrote with Craig Mazin, director Todd Phillips (“Road Trip,” “Old School”) establishes himself as the master of the “bro movie” with this final hilarious and satisfying conclusion to the definitive trilogy of bad decisions.

Released May 23, “The Hangover Part III” is the third and final installment in the “Hangover” trilogy that began in 2009. The film reunites Alan, Phil, and Stu (Zach Galifianakis, Bradley Cooper, Ed Helms, respectively) for another round of epic and hilarious misadventures. Director Todd Phillips succeeds in creating a satisfying conclusion to the series.

However, this movie smartly foregoes the main amnesia formula that drove its predecessors, instead opting to bring the story full circle, appropriately wiping 2011’s raunchier and poorly received “The Hangover Part II” from our memories (although it is humorously referenced here and there). The $100 million budgeted threequel is a piece of nostalgia that harkens back to the classic 2009 original (which only cost $35 million to make) and is filled to the brim with throwbacks that show how much of a ripple effect our protagonists caused in Las Vegas all those years ago. Though this hangoverless “Hangover” is not as good as the first, it benefits from its ridiculous situations, leaving nothing unscathed in the guys’ path; no one is safe and nothing is off limits. In the words of Batman, it’s the sendoff that this series deserves.

The movie begins with a Bangkok prison riot, an escape reminiscent of “Shawshank Redemption” by Leslie Chow (Ken Jeong as the crazed, cocaine-snorting international criminal), and a decapitated giraffe head that causes an entire freeway to be shut down (and that’s just the first few minutes!). The hilarity only escalates as Alan’s father (Jeffrey Tambor, who will reprise his role as George Bluth in Netflix’s reboot of “Arrested Development,” to be released May 26) dies, and a plan is set in motion to put Alan, who’s been off his medications, in a mental rehabilitation center with the promise that he will come back a changed man.

Galifianakis is still as funny as ever as the overweight, bearded buffoon who comes off as an exaggerated cross between Curly from The Three Stooges and Charlie Chaplin’s Little Tramp persona. He’s a dangerous combination of spoiled, stupid and oblivious, creating humor out of the awkward situations that he creates, not to mention an obsession with Phil bordering on sexual attraction. He shines during a funeral eulogy (referring to his father as a life partner), an intervention on his behalf, a revealing flashback where he shockingly drops a racial slur that would make Quentin Tarantino proud, and in a pawnshop run by a female version of Alan played by Melissa McCarthy.

On the way to the facility, the group is ambushed in a field of windmills and power lines (a location reminiscent of David Fincher’s “Seven”) by Marshall, a criminal played by an unflinching John Goodman, who carries on the “Hangover” tradition of famous personalities in supporting roles (e.g., Mike Tyson, Paul Giamatti, Nick Cassavetes). He orders the trio to find Chow, who stole $21 million in gold bars from him, taking Doug as collateral (big surprise there). As always, these poor schlubs enter into a veritable Twilight Zone of crime, sex and drugs.

In lieu of post-drunken antics, the gang jumps from gag to gag (each one more improbable and hilarious than the last) in search of Chow, who is crazier and more sadistic than ever. Their road trip takes them from California to Tijuana, Mexico, and all the way back to Vegas, specifically Caesar’s Palace, where all the madness first began (and no, it’s still not the real one). There hasn’t been this much action in Sin City since Danny Ocean and his team came to town. Still, the Rat Pack’s got nothing on the Wolf Pack.

Surprises wait around every corner, and it’s fun to see these guys run around like chickens with their heads cut off, breaking into Mexican villas and scaling the roofs of hotels with ropes made of bed sheets. Moreover, it is a welcome sight to see them run into blasts from the past. The movie brings back such characters as ‘Black Doug’ (Mike Epps), Jade the prostitute (Heather Graham), and baby Carlos, who’s all grown up now. Alan, who once cared for the boy, shares a tender moment with him that will leave you emotional and laughing. Chow is placed back in the trunk of a car, the place where we were first introduced to him in 2009. Even Phillips makes a tiny cameo, something he does from time to time in his films. While I was disappointed that Mike Tyson didn’t reprise his role, Phil Collins’ “In The Air Tonight” plays during the ending credits.

With all the scenic locations, helicopter shots and road tripping in this installment, Phillips evokes the feeling of summer while placing the movie in the massive scope of a macrocosm that complements the microcosm setting of the first movie. In a summer full of superheroes and giant robots, it’s nice to see a bunch of ordinary guys who break the border of impossible and keep trudging forward when placed in extraordinary circumstances. Like in the last two movies, Helms is a neurotic mess, which contrasts Cooper’s cool-guy approach and Galifianakis’ immaturity. It’s really the personality differences between these guys that contribute to their great chemistry, the greatest asset of this movie and the trilogy as a whole.

In the end, all loose ends are tied up, and Alan learns an important lesson, growing up in the process and achieving a major life goal that you may never have thought possible. As the group walks down the hall in slow motion for the last time to Kanye West’s “Dark Fantasy,” we sadly bid goodbye to the three best friends that anybody could have who make our nights of depravity look like child’s play. Make sure to stick around for a hilarious, raunchy and nostalgic post-credits scene that confirms that Stu makes the funniest choices when highly intoxicated. Other critics may say that some things in this sequel are too forced or unnecessary, but I say, “Who the hell cares?”

“The Hangover Part III” is not here to win any Oscars or make some kind of social commentary. Like a bachelor party, it’s here to show us a good time and make some questionable decisions along the way.

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When it comes to movies based on true stories, it is always fascinating to see unbelievable events transpire in a real-life setting. While most schlocky horror movies these days claim to be extracted from reality, it is the crime genre that really succeeds in grabbing and holding my attention. In “The Iceman,” Israeli director Ariel Vromen (“Rx”) tells the incredible true story of Richard Kuklinski, the Polish Mafia hitman who killed over 100 people by the time he was apprehended in 1986. The Academy Award-nominated Michael Shannon (“Revolutionary Road,” “Take Shelter”) cometh as the cold-blooded murderer (hence the nickname) with an intensity that made me realize that he is truly an underrated actor. Set in a time period between 1964 and 1986, the movie follows Kuklinski through his marriage and recruitment by the mob. Vromen, who co-wrote the screenplay with Morgan Land, does a fine job with a film that is chock full of familiar actors, A-list or otherwise. Still, you may be yearning for some more substance in this newest installment to the crime genre.

Released May 3, “The Iceman” recounts the unbelievable life story of Richard Kuklinski, a Mafia hitman who killed over 100 people before his arrest in 1986. “Man of Steel”’s Michael Shannon stars as the infamous murderer with Winona Ryder, Ray Liotta, James Franco, David Schwimmer, and Chris Evans co-starring.

The movie’s opening scene helps introduce Kuklinski as somewhat of a paradox. We find him sitting in a restaurant with his future wife, Deborah, played by Winona Ryder, who still seems as innocent and charming as ever. Kuklinski compares her to a prettier version of Natalie Wood. When prompted on what he does for a living, he claims to dub cartoons for Disney (“Cinderella” is his favorite). In reality, he makes a decent living creating pornographic films in a sketchy New Jersey lab. Like a real gentleman, he bids Deborah goodnight and then kills a man who rubs him the wrong way in a pool hall.

Throughout the movie, Vromen allows his leading man’s talents to shine. Shannon, who will portray General Zod in Zack Snyder’s Superman reboot “Man of Steel” (out June 14), plays Kuklinski like a hulking automaton with a slight limp, speaking in low monotones. The 6-foot-3-inch actor, truly menacing in the role, flawlessly encompasses the character, switching between tranquility and bouts of anger and violence. It is a marvelous thing when we adore and fear a character at the same time. More importantly, Shannon perfectly emulates a conscienceless killer. In the words of Ian Holm’s Ash from 1979’s “Alien,” Kuklinski is “a survivor unclouded by conscience, remorse or delusions of morality.” Unfortunately, the film fails to get truly inside this man’s deranged head, deciding instead to conduct its business on a playing field of pseudosanity. Shannon’s performance is reminiscent of Anthony Hopkins as Hannibal Lector in 1991’s “The Silence of The Lambs,” a storm of murderous rampage just waiting to break free at any minute. Nevertheless, he still retains some shred of humanity through his personal code of refusing to murder women and children.

Richard and Deborah get hitched and have two daughters. All he really cares about is his family, acting on instincts like an animal, mindlessly killing and protecting his younglings; he is an antihero of the highest caliber. Kuklinski is soon employed as a hitman by mafioso Roy DeMeo, played by Ray Liotta in a predictable yet comfortable role reminiscent of “Goodfellas.-”. At this point, the filmmakers may have wanted to change the title to “101 Ways to Kill a Human Being,” as Kuklinski carries out hit after hit- — stabbing, strangling and shooting. His name is no longer Richard; it’s “Pollack.” One sequence features a cameo from James Franco, who seems to have a part in every movie these days, pleading with Kuklinski — and God — for his life.

The juxtaposition between his family and crime lives is fascinating to watch, especially because Kuklinski works so hard to keep them separate. The scenes where he snaps are the best, especially those involving his family. In one instance he tears up his house while fighting his wife, and in another he drives like a crazed maniac, putting his daughters in danger.

Among DeMeo’s posse is the pathetic Jewish wannabe mobster, Josh Rosenthal, played by none other than David Schwimmer with a ponytail and 1970s porn star mustache. He messes up just one too many times, causing Kuklinski to come into cahoots with Robert Pronge, another contract killer who rides around in the perfect cover in the form of an ice cream truck. Chris Evans (“Captain America”) takes a break from playing heartthrobs and superheroes to embody a ruthless gun for hire. Pronge is an intriguing mixture of disheveled, sleazy and brains. Like no big deal, he keeps frozen bodies in his truck while serving ice cream to young children and cuts up corpses as if it were a recreational activity.

The movie is set against the backdrop of a 1970s New Jersey and New York, similar to that of Ridley Scott’s 2007 “American Gangster.” While “The Iceman” accomplishes the look of the times (clothing, hairdos, televisions, etc.), it lacks the grittiness and realism of ‘70s-era crime movies like William Friedkin’s 1975 “The French Connection.” Moreover, we see no investigations into all the murders, with cops only showing up at the end. While this film just feels a bit too artificial, its dark tone helps make up for what it lacks. It is not a pure crime story, but a character study of a man who lives in two conflicting worlds. Unlike other movies set in the disco era, music doesn’t play a major part, but the songs that are used are used perfectly, like Electric Light Orchestra’s “Livin’ Thing,” which ironically preaches that a life is a terrible thing to lose.

Even before seeing this film, Shannon proved his worth as a maniac to me thanks to his intense narration of the now infamous angry sorority email for Funny or Die. Although it won’t become an instant classic anytime soon, Shannon’s performance makes it worth sitting through the almost two-hour runtime. I wouldn’t go so far as to call “The Iceman” the “Citizen Kane” of crime movies, but it has spunk, something a lot of movies could really use nowadays. The final verdict: Don’t turn a cold shoulder to “The Iceman.”

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“We’re gonna party like it’s 1922, old sport!” is what you might be inclined to say at your next soiree after seeing “The Great Gatsby.” Out May 10, the 3-D extravaganza was directed by Australian director Baz Luhrmann, the man behind “Strictly Ballroom” (1992), “Romeo + Juliet” (1996), “Moulin Rouge!” (2001) and “Australia” (2008). Leave it to the director with a penchant for turning everything he sees into a set piece to create a period flick about the alcohol-saturated age of flappers, loose morals, lavish parties and opulent mansions. This is the fifth film adaptation of the classic 1925 F. Scott Fitzgerald novel that every high school student has had the pleasure of reading at one time or another.

Out May 10, Baz Luhrmann’s “The Great Gatsby” is the fifth film adaptation of F. Scott Fitzgerald’s classic 1925 novel of the same title. Leonardo DiCaprio plays the title character with Tobey Maguire, Carey Mulligan and Joel Edgerton co-starring.

Set in the age of American prosperity after World War I known as the Roaring Twenties, the movie follows the tragic figure of Jay Gatsby, a hopeless romantic chasing a fantasy. Narrated by “Spider-Man” actor Tobey Maguire as Nick Carraway, the film explores such themes as the unattainability of the American Dream, God and disillusionment with the Jazz Age. Filled with great acting and music, the real gem here is Leonardo DiCaprio, in his second collaboration with Luhrmann, who portrays the titular character with such excellence and subtlety that I can truly call him one of the finest actors of his generation. Honestly, where the hell is this man’s Oscar already?!

Staying true to the source material, Nick Carraway, a young Yale graduate from the Midwest moves to bustling New York City in the summer of 1922 to become a bond broker. Nevertheless, the filmmakers added some scenes to show his motivation for narration, which involve his love of writing. Carraway is played by Tobey Maguire, who brings some Peter Parker geekiness and naivete to the role. He moves to a small cottage house on Long Island, across the bay from his cousin Daisy and her husband Tom Buchanan. The soft-spoken Daisy is portrayed by Michelle Williams’ look-alike, Carey Mulligan (“An Education”). Mulligan was a perfect choice with her simple, pale face and bob hairstyle, already looking like someone straight out of the ‘20s. Joel Edgerton (“Zero Dark Thirty”) plays the hypocritical polo-playing Tom, who cheats on Daisy with the trashy Myrtle (Isla Fisher), the wife of mechanic George Wilson. Edgerton, who beat out Bradley Cooper for the role, was another perfect casting decision. His demeanor shifts with ease between geniality and malevolence.

For the first half hour or so, the movie builds mystery around the enigmatic Gatsby with fantastical rumors about his origins before he even shows up on screen. People describe him as a German spy, an assassin and a relation of the Kaiser, even at the grandiose booze-soaked parties he throws where all of New York — including politicians, gangsters and film stars — simply shows up crammed into automobiles. When he finally does appear, your patience will be rewarded with DiCaprio at the top of his game. Slipping into this role like a second skin, DiCaprio is as slick as he was in 2010’s “Inception” and as charismatic as he was in 2002’s “Catch Me If You Can.”

Gatsby’s wealthy gentleman facade is both endearing and humorous. He calls everyone “old sport” and claims to be the sole survivor of a rich family, an Oxford man and a war hero receiving an award from every Allied government for “valor extraordinary.” As the film progresses, Carraway befriends Gatsby, and the truth behind his great wealth and extravagant parties is revealed to be spawned from an incorruptible and impossible dream of being with the woman he loves.

All the actors work perfectly together, especially in a tense scene within a hotel room that brings a segment from the book to life with spot on accuracy. Other minor characters are also taken care of, such as Jordan Baker, Owl Eyes and Jewish gangster Meyer Wolfsheim. Even the godlike eyes of Dr. T.J. Eckleburg were included to watch over our characters as everything starts to go to hell.

Luhrmann does a nice job of sticking to the essence of the novel and an even better job of evoking the feeling of the 1920s in an almost over-the-top way that makes the film feel like a Broadway production that characterized his “Red Curtain Trilogy.” Known for his beautifully stylized form of filmmaking influenced by Italian grand opera, Luhrmann constructs an expansive form of New York that is charmingly vintage and art deco-inspired. We are transported back to a bygone era of three-piece suits, bootlegging, straw hats and coupes. This accomplishment reminded me of Peter Jackson’s work on 2005’s “King Kong” to recreate a 1930s version of Manhattan, though “Gatsby” takes place at least 10 years before the giant ape scaled the Empire State Building. This was also the second adaptation of a Fitzgerald piece to feature great set design, the first being David Fincher’s “The Curious Case of Benjamin Button” (2008).

Music also plays a major role in the film, much like it did in Luhrmann’s jukebox musical “Moulin Rouge!” The soundtrack, produced by Jay-Z, blends both modern music and jazz in an almost seamless fashion. Some notable and addicting tracks are the sexy “Back to Black” cover by Beyonce and Andre 3000, the heartbreaking “Over The Love” by Florence + The Machine, and Jack White’s intense cover of “Love is Blindness.”

Since the release of its first trailer last year, many people have been looking to this film as if it were the green light at the end of a dock. Originally scheduled for release back in December, it was pushed to May, only increasing the already high anticipation. Despite being based on an American classic, the $127 million-budget movie was filmed in Sydney and features more Australian actors than you can shake a stick at. However, for all its beauty and terrific acting, this adaptation fails to live up to the genius of the source material. At times, it becomes a little too grandiose and takes the focus off the obsessive Gatsby, a genuine man among sleazy rich folk who hide behind their money. Even inserting narration from the original text may fall a bit flat on the ear. But don’t let that discourage you from shelling out the 10 bucks at your local cinema. Luhrmann has proven himself the master of forbidden love stories. Filled to the brim with murder, deceit, car races, sex, money, booze, music and parties, “The Great Gatsby” is, in a word, great.

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At one point in “Iron Man 3,” Tony Stark declares that no matter what you take away from him, he will always be Iron Man. This is true not only for Stark but also for Robert Downey Jr., who will forever be held in our minds as the cocky billionaire who trounces around in a metal suit of armor. The newest installment of the “Iron Man” franchise was directed by Shane Black (“Kiss Kiss Bang Bang”), who took the reins from Jon Favreau, after Favreau decided to pursue a film based on Disney’s Magic Kingdom instead. He still managed to serve as an executive producer and play a small role as Stark’s well-intentioned yet paranoid head of security, Happy Hogan. Being the seventh addition to Marvel’s Cinematic Universe, “Iron Man 3” focuses on Tony Stark after the events of last year’s “The Avengers,” Joss Whedon’s fanboy masterpiece. Not featuring a ton of Iron Man action until the very end, “Iron Man 3”focuses more on Stark as a vulnerable mortal man, allowing Downey Jr.’s talents to shine. That being said, there are still plenty of badass action sequences, awesome gadgets and surprises to leave any Marvel or sci-fi nerd drooling in their seats.

Out May 3, “Iron Man 3” is the latest addition to the “Iron Man” franchise and the seventh to the Marvel Cinematic Universe. The film focuses on Tony Stark after the events of 2012’s “The Avengers.” Gwyneth Paltrow, Ben Kingsley, and Guy Pearce co-star.

The movie sets itself up with a flashback to New Year’s Eve 1999, when Tony manages to have a one-night stand with a beautiful botanist (Rebecca Hall) and annoy a brilliant and crippled scientist (Guy Pearce); both come back to hurt him. Fast-forward to the present day, where Stark is dealing with post-traumatic stress disorder after the battle he fought in New York with the Avengers. Stricken with insomnia and anxiety attacks, he shuts himself in his laboratory, inventing, which puts a strain on his relationship with Pepper Potts (Gwyneth Paltrow), the token damsel in distress.

In terms of baddies, the film follows a formula similar to that of 2010’s “Iron Man 2”: a villain with facial hair and a funny accent in cahoots with a young genius whose goal it is to ruin Stark’s life. (In this case, both are played by British actors.) The former is The Mandarin, an Osama bin Laden-like terrorist leader who may or may not be what he seems. He is played by the Oscar-winning Ben Kingsley, who, without giving too much away, gives quite the unexpected performance.

Pearce plays the latter, stepping into the role of Aldrich Killian, the suave founder of Advanced Idea Mechanics, an enterprise with the promise of fixing handicapped individuals. Similar to his role as Peter Weyland in last year’s “Prometheus,” Pearce plays a charismatic businessman with nefarious plans. He makes for a very convincing villain, going from a hobbling nerd to a literal inferno of pure evil. He is somewhere between Spider-Man’s The Lizard and X-Men’s Magneto. Don Cheadle also returns as James Rhodes. Cheadle, who replaced Terrence Howard “Iron Man 2,” brings more lightheartedness and humor to the role of the Iron Man counterpart War Machine/Iron Patriot.

Nevertheless, it is Downey Jr.’s performance that keeps “Iron Man 3” above the usual superhero fare. Almost 50, Downey Jr. has the energy of a much younger man, contributing to most of the film’s humor with Stark’s signature brand of fast talking and cracking wise. “I loved you in ‘A Christmas Story,’” he says to a bespectacled boy asking for an autograph. However, he is also able to convey a great deal of emotion for the sappy parts that motivate our hero’s every move. Specifically, he becomes sort of a father figure to Harley (Ty Simpkins), a young boy living in Tennessee who is reminiscent of a young Tony. The dynamic between the two lends to some heartwarming and funny moments. How Stark ends up in Tennessee will be saved for your viewing pleasure.

As always, the science-fiction gadgetry doesn’t fail to disappoint the inner nerd in all of us. Some noteworthy technology is Stark’s prototype suit, with individual parts that can be summoned from a distant location and pieced together somewhere else in the spirit of the Iron Giant. (a lot of jokes are made at its expense.) Killian possesses the technology that allows one to view a live stream of the human brain. He is also the inventor of Extremis, a form of treatment that gives its victims abilities similar to that of the T-1000 in “Terminator 2: Judgment Day.” The action sequences in this film are also noteworthy, as they are both gripping and impressive. Among them are scenes involving Stark’s Malibu home, Grauman’s Chinese Theatre, a daring midair rescue, and an army of Iron Men.

With a movie that spans several states and continents, the $200 million-budgeted “Iron Man 3” is a great way to kick off your summer. I’m not a big fan of 3-D, but a film like this is worth it if you’re a fan of adding another dimension to your cinematic experience. As with every recent Marvel movie, there is an extra scene at the end of the credits. Although it does not preview any upcoming movie, the humorous scene brings back a familiar face. By its inspiring end, it seems that the “Iron Man” storyline has been taken as far as it can go for the time being. Still, we shouldn’t let that get us down because there is so much to look forward to in the Marvel universe. With “Thor: The Dark World” out in November, “Captain America: The Winter Solider” slated for an April 2014 release, and even July’s “The Wolverine,” there will be no shortage of superhero action in the near future. All we need to do is make like the Avengers, assemble in the theater, and enjoy the ride.

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“How’m I doin’?” This was the trademark catchphrase of Edward Irving Koch, the colorful character who served three consecutive terms as the 105th mayor of New York City from 1978 to 1989. In his phenomenal new documentary, “Koch,” Neil Barsky explores the life and times of the larger-than-life Jewish mayor who helped bring recovery to a city that was “on the balls of its ass.” Barsky, a former journalist for the Wall Street Journal and New York Daily News, was also a Wall Street analyst and hedge fund manager who retired in 2009. He soon decided to begin making documentaries due to the financially crippled state of print journalism.

“I’ve always loved documentaries. Documentary film is the one form of journalism that has really retained its power. In fact, [it may have] increased its ability to influence [and] change a national conversation,” Barsky said as we sat outside a small eatery on Market Street. He first became inspired by documentaries after watching “Hearts and Minds,” a 1974 film about the Vietnam War.

Being a New York native, Barsky decided to make his first film after producing the documentary “Knuckleball.” He described Koch as “one of the most compelling political figures this country’s ever produced.” The documentary opens on a sweep over a breathtaking Manhattan skyline at night, a dreamy landscape of illuminated buildings. Meanwhile, an 80-year-old Koch reminisces about how all of it used to “belong to him,” giving viewers a sense of how big his ego really was.

From here, the film documents two storylines. The first follows the mayor’s origins, rise to fame and terms in office; the other follows his life as an old man and the vote to name the Queens Borough Bridge after him. However, Barsky’s goal was to use Koch’s career to “tell the story of how contemporary New York came to be.” It’s 1977, the Twin Towers are still standing, and Manhattan is quite literally a den of iniquity on the verge of bankruptcy with its rampant drug abuse, skyrocketing crime rates, homelessness abounding, and strip clubs on every corner (especially in the Times Square area). At this point, the documentary utilizes archived footage to achieve that vintage ‘70s and ‘80s look. The grainy snippets from the time period evoke a gritty, rugged portrait of New York City that framed ‘70s flicks like “The French Connection” (1971), “Mean Streets” (1973) and “Dog Day Afternoon” (1975). The documentary is told through interviews with journalists, Koch’s political colleagues and advisers, and the former mayor himself, who has the spirit of a much younger man.

“He loved attention and was comfortable being interviewed in front of a camera. He’s probably appeared in 40 movies and been interviewed thousands of times, so he was very practiced,” Barsky said, when prompted about the experience of interviewing Koch.

Among the events covered in the film, the highlights include the competitive 1977 mayoral election against Mario Cuomo, the 1980 transit strike, the AIDS epidemic, Koch’s sexuality, renewal initiatives and a municipal scandal that brought an end to the era of Koch. These serve as vehicles to show how interesting a figure he was. Not being the biggest fan of documentaries, I was pleasantly surprised to be so entertained by a movie about a man about whom I knew so little. Barsky addressed this by saying, “There’s something about reality unfolding before your eyes and surpris[ing you].” Despite his nebbishy underdog appearance, Koch is depicted as a man who loved his city and wouldn’t take crap from anyone. However, he was still quite the character who loved the power and limelight. For instance, the film shows us clips of him dancing, appearing on Saturday Night Live.

“He was very funny. You have no idea how helpful it is when a guy is funny and every five minutes the audience is gonna laugh. It’s simplistic, but makes for a much better film,” Barsky said. In his old age, he wanted to be buried in a bustling Christian cemetery rather than a condemned Jewish one, picking out his tombstone and epitaph ahead of time.

Although Koch was beloved by many, the film does a great job of showing how he faced lots of unpopularity as his terms progressed, especially from the gay and African-American communities. The former disliked him due to his inaction to combat the AIDS epidemic in the early 1980s, something they attributed to his “closeted lifestyle.” Koch’s sexuality plays a big part in the movie, and it is interesting to see how he dealt with the question of whether he was gay or not. The latter group became embittered over his decision to close Sydenham Hospital, which is something that he regretted doing later in his life. Nevertheless, it is clear from the film that he was able to revitalize the city by helping make Times Square what it is today and spending billions of dollars on housing construction for the homeless; he really played a major role in cleaning up the city.

Having spent two years on the documentary, Barsky is not worried about its appeal to a younger generation. “When you make a movie you don’t really think about who you’re making it for. You really make it for yourself and hope that there [are] enough universal themes [so] that people enjoy it.”

With no further projects currently lined up, Barsky said that he’s open to making more documentaries, with no desire to make any feature films. “I don’t like movies where they hit you over the head and tell you what to think. I like movies that hopefully let the viewer decide what to think. … It’s nice to affect a conversation. I hope people see [“Koch”] over the years and it will be an important part of New York’s history.”

“Koch” is more than your typical History Channel-esque documentary. It is factual, interesting, and above all, fun. Although Koch died this past February, his legacy still lives on. How’re ya doin’, Ed? Pretty damn well.

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Play ball! Spring is finally here, and as the weather warms up, so does baseball season — and baseball-themed movies. If you can’t make it to the stadium to enjoy America’s greatest pastime, then perhaps your local movie theater will get the job done with the release of “42” (out April 13), a movie that explores the issue of race in sports during the mid-20th century. Written and directed by Brian Helgeland, screenwriter for “L.A. Confidential” and “Mystic River,” the biopic tells the incredible story of Jackie Robinson, No. 42 for the Brooklyn Dodgers, the first African American baseball player to play in the major leagues. The film is set after World War II and follows Robinson’s path from the Negro Leagues to baseball stardom, while showing the adversity he faced along the way. With a smart script that never forgets its love for the game, Helgeland creates an inspiring period piece packed with powerful performances, thought-provoking themes, and of course, plenty of baserunning.

Opening April 12, “42″ tells the inspiring true story of Jackie Robinson, the first black baseball player in the major leagues. The cast includes Chadwick Boseman as Robinson and Harrison Ford as Dodger’s owner Branch Rickey.

World War II is over, and all the great baseball icons are returning from overseas to resume their places on the diamond. However, as the movie opens with a montage of vintage 1940s footage, the narrator reminds us that we are not there to hear about Hank Greenberg or Joe DiMaggio. The narrator, Wendell Smith (Andre Holland), is an African-American sportswriter who follows Robinson’s career. Equal parts lanky and nerdy, he sits in the colored-only stands with a typewriter on his lap because he’s not allowed in the press box.

Before we even get a glimpse of Robinson, “42” introduces us to Branch Rickey, the innovative and far-seeing owner of the Dodgers who broke baseball’s color barrier, telling his associates that he plans on signing on a black player. Harrison Ford returns to the age of the fedora to play Rickey, a gruff, religious old man with a heart of gold who always wears bow ties and chomps on cigars. Still rugged as ever, Ford is at home in the role with ‘40s era slicked-back hair, displaying a surprising amount of emotion and humor despite his hardened exterior. Although he is dubbed “insane” by his peers, Rickey goes through with his plan, motivated by an instance of moral inaction from his past, which he later relays to Jackie in a heartwrenching scene. When questioned about his choice of Robinson, Rickey plainly states with a smirk, “He’s a Methodist, I’m a Methodist, God’s a Methodist. You can’t go wrong!” There is a flaw in the move, however, in that at other times, Rickey seems to be interested only in making money.

The film transitions to Robinson playing in an all-black league. It is here that the audience gets a sense of just how fast he was as he slides into and steals bases with panache. The title character is played by Chadwick Boseman, seen in “The Express,” an actor with the charm, charisma and smile of a young Denzel Washington. Despite this being his first major role, Boseman plays the role with the quiet intensity of a man of few words and many values. After all, the movie is not solely about the man but also about what he represented in a time where the Civil Rights Movement was still far off on the horizon. Nicole Beharie portrays Rachel Robinson, Jackie’s loving wife, who is both faithful and supportive. Between the years of 1945 and 1947, Jackie goes from the Kansas City Monarchs of the Negro National League, to the Montreal Royals (the Dodgers’ minor league affiliate) to the Brooklyn Dodgers with thrilling baseball sequences peppered throughout.

As always, I was impressed by the re-creation of the historical setting of the film, a post-WWII United States. You can’t get more American than that! Helgeland transports us back to the time right before television exploded in the 1950s, a time where people got news from radios, heard ballgames narrated by fast-talking sports announcers and dressed up for sporting events. A time where big-band music still reigned supreme. A time when segregation was more prominent than ever in sports stadiums and airports.

Thanks to the cinematography of Don Burgess (“Forrest Gump,” “Spiderman”), the movie is beautiful. The use of warm colors evokes the feeling of baseball season, with plenty of orange sunshine, blue skies and dazzlingly green baseball fields.

“42” constantly reminds us that this age in American history was anything but calm and simple. The powerful themes of race and segregation are the driving forces behind this film. The introduction of Jackie Robinson into the major leagues creates a turbulent whirlwind of vicious racism and debate. Although aware that it was coming, I was shocked by the deplorable treatment portrayed by segregationists in the film, such as a scene in which a Florida police officer kicks Robinson off the field just for being black. No matter what field he steps on, he is greeted with jeers from the crowds. They shout derogatory words and tell him he doesn’t belong in the white league and shout the N-word, which is used more liberally (and convincingly) here than in any Quentin Tarantino film. When they discover that he will play for the Dodgers, some of the then-current players draft their own “Declaration of Independence,” acting like a bunch of stubborn little boys and refusing to play. After a while, they do warm up to him, displayed through cinematic storytelling that reminds one of 2000’s “Remember the Titans.”

The film also serves as an important case study on how racism is passed from one generation to the next. In one notable sequence, a young boy shouts racial slurs at Robinson just because the crowd around him is doing so. Even the 1940s Philadelphia Phillies are shown to be villainous when their manager, Ben Chapman (Alan Tudyk), taunts Jackie while he is at bat. He cannot fight back, and we sympathize with the character, wanting to grab a wooden bat and smash someone’s head in on his behalf.

Needless to say, this film is inspiring, even in its cliche moments. When the music swells and you know Jackie is going to be successful, you don’t care because your heart swells too, with hope and pride for the future. As Babe Ruth said in 1993’s “The Sandlot,” “Heroes are remembered, but legends never die.” “42” is about Jackie Robinson, the enduring legend, the man who profoundly affected the people and culture around him forever. If you plan to see this movie, I recommend bringing along a hot dog, a bag of peanuts and perhaps an ice-cold beer.

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We’re off to see the wizard in “Oz the Great and Powerful,” Disney’s first foray into the world of L. Frank Baum since 1985’s misunderstood cult hit “Return to Oz.” Released March 8, the $200 million film was directed by Sam Raimi, the man behind the hugely successful Spider-Man trilogy as well as the “Evil Dead” series. Taking place in 1905, this movie serves as a prequel to the 1939 original movie, “The Wizard of Oz,” before houses started falling out of the sky and crushing witches. James Franco stars in the main role as Oscar “Oz” Diggs, a circus magician and con man who finds himself in the land of Oz, expected to fulfill a prophecy that will banish evil and bring hope to the people. While not nearly on the same level as the original phenomenal performances, over-the-top special effects, clever filmmaking techniques and throwbacks help elevate this moviegoing experience beyond the usual popcorn fare.

Released March 8. “Oz The Great and Powerful” is a prequel to 1939’s “The Wizard of Oz.” The film was directed by Sam Raimi and stars James Franco as Oscar Diggs, a circus magician who finds himself in the fantastical land of Oz. The movie costars Mila Kunis, Zach Braff, Michelle Williams and Rachel Weisz.

In the spirit of the 1939 version, this movie starts out in black and white with a 4:3 film ratio that narrows the picture to a vertical box, which was a nice move on the part of the filmmakers. This lack of color technique is reminiscent of films like “Schindler’s List” and “The Good German.” We open in Kansas circa 1905 where the Baum Bros. traveling circus has set up shop. Here, Diggs works as a magician, attempting to swindle crowds out of their money with cheaply staged bombastic parlor tricks that even have the clowns breaking out their flasks. The scene involving his show is filled with both humor and sadness that foreshadows a redeeming moment for the wannabe wizard. Diggs is selfish and greedy, and he mistreats his assistant Frank (Zach Braff). He is also very skilled at courting the ladies with a story that pokes fun at Raimi’s and Franco’s Jewish heritages. However, he yearns for something more. As he puts it, “I want to be Harry Houdini and Thomas Edison all rolled into one.” Franco is terrific in this role with his charming smile, three-piece suit and Shakespearean delivery of his lines that harkens back to the original wizard played by Frank Morgan in 1939.

Soon, his libido gets him into trouble, and Diggs is forced to flee the circus in a hot-air balloon with nothing but his top hat and bag of tricks. The balloon goes the way of Dorothy and is sucked into a tornado as Diggs pleads for his life, exclaiming that he hasn’t accomplished anything yet. His prayers are answered, and the balloon floats into Oz as the screen widens into an aspect ratio of 2.35:1 and color appears for the first time, another reference to the original. This is where the film’s impressive special effects really get to shine; the fantasy world is a Seussian delight with curving land structures, blue skies, and bizarre creatures like river fairies with a wicked sense of humor. I felt like a kid again, soaking in the wonder of today’s computer-generated imagery. However, I also felt myself longing for the simplistic forced-perspectives sets of the 1939 original. The landscape and overall look is reminiscent of 2005’s “King Kong” or “Alice in Wonderland,” movies in which travelers stumble upon fantastical worlds. Danny Elfman’s haunting score adds to the wonder.

Once on land, Diggs meets Theodora the Good Witch, played by the always lovely Mila Kunis, who informs the newcomer of a prophecy in which a wizard would come from the sky to defeat the Wicked Witch and take the throne of Oz. Kunis plays the role with a sense of naivete but is later corrupted by her sister in a Snow White-like fashion, Evanora (Rachel Weisz), thus giving us a backstory on the wicked witches. Always good with a lie, the magician accepts the position, albeit for monetary reasons, which sparks a chain of events that leads to his ultimate redemption, the details of which will be spared for your personal viewing.

Along his journey, Diggs meets a colorful cast of characters who serve as his Scarecrow, Tin Man and Cowardly Lion. Continuing with the throwbacks, the movie brings back earlier characters into different roles. A notable individual is Finley, a flying monkey dressed in a bell hop’s uniform who swears a life debt to the wizard after Diggs saves him from a lion. The wisecracking Finley, voiced by Braff, serves as the magician’s conscience while also delivering hilarious dialogue that reminds us why we loved Braff in “Scrubs” so much. Joey King does a fantastic job as a small, fragile girl made out of china who isn’t afraid to stand up for what she wants despite her minuscule stature. Even Glinda the Good Witch makes an appearance (bubbles and all!), played by the calm, soft-spoken Michelle Williams. While the acting may seem a little fake to some, I was not bothered because it kept in line with the over-the-top performances of the original. Not taking itself too seriously, the movie is able to take greater risks. Unfortunately, there are no musical numbers, which is a bit of a disappointment.

Clocking in at 2 hours and 10 minutes, you’ll never get exhausted of the Easter eggs that have been placed to trigger our nostalgia glands. Be it flying monkeys, poppy fields or scarecrows, you’ll be one happy camper. Nevertheless, this does not make up for the fact that the movie is all over the place, constantly shifting between ideas that have potential but ultimately going nowhere. Furthermore, someone needs to give Kunis acting lessons on how to be truly evil. All in all, Raimi does a great job, but he’s got nothing on Victor Fleming. However, if you plan to see this movie, then buckle up, because we’re not in Kansas anymore.

Pennsylvania’s own Tigers Jaw and Modern Baseball performed March 1 at Flux along with fellow punk band Sun. The show was reportedly very close to selling out, making the already small Intercultural Center basement even tinier. That being said, it really brought some energy to the concert, especially in the front and center. From my safe spot near the back, I could see some major moshing and crowd surfing going on. Though I did not join in — journalistic integrity? — it looked like everyone was having a blast.

Punk bands Sun and Modern Baseball opened for Tigers Jaw, and I believe both were good, in a punky kind of way. While I am not well versed in this particular genre, they were very well received, which leads me to believe that they are indeed good bands.

Judging by the overwhelming noise from the crowd, Sun and Modern Baseball did something right. As an uninformed audience member, I enjoyed the exposure to this kind of music. It’s darker than pop or rock, obviously, both in terms of lyrics and music, but there is something decidedly upbeat about it. The music itself was often built of simple chord progressions that often switched back and forth between major and minor keys, which made the songs interesting and diverse. Because of this, there was no repetition or lull in the performances.

Modern Baseball had its first gig at Flux, and all of the members of the band are current Drexel students. According to Jacob Ewald, the band’s lead singer, coming back to the venue and playing with Tigers Jaw and Sun was a dream come true. Judging by the huge smile on his face, I believe it.

The main attraction, Tigers Jaw, did not keep the crowd waiting long. Said crowd immediately closed in on the stage in some sort of punk vacuum, somehow finding more room to squeeze together when I could’ve sworn no such room existed. The cheers from the crowd were so intense that I assume the band played the first few measures of its first song, but it was totally drowned out. People were pumped.

They, much the same as the first two bands, were met with much enthusiasm and played very similar music. I’m still learning about this punk music, so bear with me. Their sound was relatively light and reminiscent of indie music. There was also something surrounding about their music; it seemed to come from every direction thanks to some very well-coordinated lead and rhythm guitar parts. Their vocal harmonies were similarly well harmonized.

The band played a fairly lengthy set and ended with an upbeat number, which really got the crowd excited. Everyone left, it seemed, having had a good, punk-filled evening.

Tigers Jaw is expected to head back to its hometown of Scranton, Pa., for a benefit concert before heading out on a European tour this July.