Ben Stiller reprises his role as a former model in a throwaway but amusing sequel
Literally under your skin, that is. Reportedly about performing taxidermy with the corpses of dead ex-lovers, ‘Courtship Dating’ is warmly horrible, like feeling a pleasant tingle and looking down to find there are maggots swarming up your arm. Fuller-fleshed than ‘Crimewave’, there’s no doubt that Ethan Fawn is picking up new tricks here. The starting point is synth-pop, but drained of blood and filled up with muted screams, jerking bass and sparking circuit boards.
There’s euphoria here too. Hear those synths rush in and you’re reminded of that bit in The Streets’ ‘Weak Become Heroes’ when Mike comes up on an E, but here it’s like it’s been downloaded to an old-school Game Boy, chemical highs reduced to blocks and pixels. Alice’s sweet sing-song, meanwhile, is pulled way, way back in the mix so it sounds like she’s singing from the bottom of a bath of embalming fluid, but if you reached in to try to pull her out, she’d drag you in with her.
Crystal Castles make dance music for sociopaths. They’re ’80s like Patrick Bateman and the Blade Runner replicants. They’re the cocktail made with strychnine and broken glass that you drink anyway, and ‘Courtship Dating’ is the best piece of humanity-loathing cyborg pop since The Knife’s ‘Silent Shout’.
It’s not quite the superhero film revolution we were promised, but it sure as hell is entertaining
Zachary Cole Smith has overcome a multitude of problems to make this intensely powerful album
Just as ridiculous as the 1991 original, but in all the wrong ways
The 'Oscar-bait' drama fails to fully translate the emotional weight from page to screen