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Yahoo
23-04-2025
- Entertainment
- Yahoo
Movie Review: A tactile, retro-coded fantasy in ‘The Legend of Ochi'
'The Legend of Ochi,' a scrappy and darkly whimsical fable about a misunderstood teenage girl on a dangerous quest, has the feeling of a film you might have stumbled on and loved as a kid. Something tactile, something fantastical and, maybe, something a little dangerous — the kind of movie you knew you probably weren't supposed to be seeing just yet. They're the ones that tend to linger, like that strange English dub of the Norwegian adventure 'Shipwrecked' that I once saw on the Disney Channel at an impressionable age. Perhaps this is something familiar only to those first home video generations, from a naive, pre-social media era when the movies that you loved felt like your own personal discovery and secret, no matter if it was 'Star Wars' or 'The NeverEnding Story.' How disappointing it was to learn later that everyone else loved them too. It's no surprise that 'The Legend of Ochi' was made by someone (Isaiah Saxon) in this zone — an older millennial shaped by some combination of 'E.T.', 'The Black Stallion' and the Palm Pictures' Directors Label box set. Those DVDs taught many a cinephile about the transportive possibilities of music videos dreamt up by Spike Jonze, Chris Cunningham and Michel Gondry for artists like Aphex Twin, Daft Punk and Björk (for whom Saxon would direct the 'Wanderlust' video). That music video energy and committed world building is evident in 'Ochi,' in a positive way. It's a description that seems to be used more pejoratively than not, like shallowly dismissing something pretty as a perfume commercial. But perhaps those people just haven't seen the good ones. Helena Zengel ( 'News of the World' ) is the central heroine, Yuri, who lives with her father Maxim (Willem Dafoe) and a de-facto brother Petro (Finn Wolfhard) on the woodsy, old-world island of Carpathia. Maxim loves to hunt the Ochi, a species of primates that are constantly threatening the safety of the humans and their farms, and he's trained an army of young boys to help. Yuri is largely kept off to the side, partly for her protection, partly, probably, because Maxim is a blustery alpha male who dresses up in elaborate, ancient armor for his missions. Her armor is a dirty, oversized yellow puffer jacket that could double as a sleeping bag. At home, she stews silently and listens to death metal in her room. She's a bit feral, which would be a cliche trope for a girl raised without a mother, but Zengel makes it work. It's clear she doesn't feel at home in this world, but finds a kind of purpose when she comes across an injured baby Ochi and takes it upon herself to return it to its family. The Ochi, she quickly realizes, have been misunderstood too. It's still a dangerous journey, which involves a humorous and slightly disgusting visit to a local supermarket, the discovery of her own long-lost mother (Emily Watson, who promptly helps Yuri brush her hair out of her eyes), and a comical, intense showdown between Watson and Dafoe. David Longstreth, of the Dirty Projectors, did the fanciful score and Evan Prosofsky is responsible for the vivid cinematography. 'The Legend of Ochi' was forged out of many influences, from Miyazaki to Amblin, and it's the kind of ambitious swing that Hollywood doesn't seem to take very often these days — especially not with a PG rating. That doesn't mean it all works seamlessly, though. The emotional beats don't seem to land as authentically as the more irreverent humor. But it's impossible not to admire the creativity, the imagination and the care that went into making something like this, with puppetry, matte paintings and inventive graphics, for a mere $10 million. 'The Legend of Ochi,' an A24 release in theaters nationwide Friday, is rated PG by the Motion Picture Association for 'some language, smoking, a bloody image, thematic elements and violent content.' Running time: 96 minutes. Three stars out of four.
Associated Press
23-04-2025
- Entertainment
- Associated Press
Movie Review: A tactile, retro-coded fantasy in ‘The Legend of Ochi'
'The Legend of Ochi,' a scrappy and darkly whimsical fable about a misunderstood teenage girl on a dangerous quest, has the feeling of a film you might have stumbled on and loved as a kid. Something tactile, something fantastical and, maybe, something a little dangerous — the kind of movie you knew you probably weren't supposed to be seeing just yet. They're the ones that tend to linger, like that strange English dub of the Norwegian adventure 'Shipwrecked' that I once saw on the Disney Channel at an impressionable age. Perhaps this is something familiar only to those first home video generations, from a naive, pre-social media era when the movies that you loved felt like your own personal discovery and secret, no matter if it was 'Star Wars' or 'The NeverEnding Story.' How disappointing it was to learn later that everyone else loved them too. It's no surprise that 'The Legend of Ochi' was made by someone (Isaiah Saxon) in this zone — an older millennial shaped by some combination of 'E.T.', 'The Black Stallion' and the Palm Pictures' Directors Label box set. Those DVDs taught many a cinephile about the transportive possibilities of music videos dreamt up by Spike Jonze, Chris Cunningham and Michel Gondry for artists like Aphex Twin, Daft Punk and Björk (for whom Saxon would direct the 'Wanderlust' video). That music video energy and committed world building is evident in 'Ochi,' in a positive way. It's a description that seems to be used more pejoratively than not, like shallowly dismissing something pretty as a perfume commercial. But perhaps those people just haven't seen the good ones. Helena Zengel ( 'News of the World' ) is the central heroine, Yuri, who lives with her father Maxim (Willem Dafoe) and a de-facto brother Petro (Finn Wolfhard) on the woodsy, old-world island of Carpathia. Maxim loves to hunt the Ochi, a species of primates that are constantly threatening the safety of the humans and their farms, and he's trained an army of young boys to help. Yuri is largely kept off to the side, partly for her protection, partly, probably, because Maxim is a blustery alpha male who dresses up in elaborate, ancient armor for his missions. Her armor is a dirty, oversized yellow puffer jacket that could double as a sleeping bag. At home, she stews silently and listens to death metal in her room. She's a bit feral, which would be a cliche trope for a girl raised without a mother, but Zengel makes it work. It's clear she doesn't feel at home in this world, but finds a kind of purpose when she comes across an injured baby Ochi and takes it upon herself to return it to its family. The Ochi, she quickly realizes, have been misunderstood too. It's still a dangerous journey, which involves a humorous and slightly disgusting visit to a local supermarket, the discovery of her own long-lost mother (Emily Watson, who promptly helps Yuri brush her hair out of her eyes), and a comical, intense showdown between Watson and Dafoe. David Longstreth, of the Dirty Projectors, did the fanciful score and Evan Prosofsky is responsible for the vivid cinematography. 'The Legend of Ochi' was forged out of many influences, from Miyazaki to Amblin, and it's the kind of ambitious swing that Hollywood doesn't seem to take very often these days — especially not with a PG rating. That doesn't mean it all works seamlessly, though. The emotional beats don't seem to land as authentically as the more irreverent humor. But it's impossible not to admire the creativity, the imagination and the care that went into making something like this, with puppetry, matte paintings and inventive graphics, for a mere $10 million. 'The Legend of Ochi,' an A24 release in theaters nationwide Friday, is rated PG by the Motion Picture Association for 'some language, smoking, a bloody image, thematic elements and violent content.' Running time: 96 minutes. Three stars out of four.
Hindustan Times
23-04-2025
- Entertainment
- Hindustan Times
Movie Review: A tactile, retro-coded fantasy in ‘The Legend of Ochi'
'The Legend of Ochi,' a scrappy and darkly whimsical fable about a misunderstood teenage girl on a dangerous quest, has the feeling of a film you might have stumbled on and loved as a kid. Something tactile, something fantastical and, maybe, something a little dangerous — the kind of movie you knew you probably weren't supposed to be seeing just yet. They're the ones that tend to linger, like that strange English dub of the Norwegian adventure 'Shipwrecked' that I once saw on the Disney Channel at an impressionable age. Perhaps this is something familiar only to those first home video generations, from a naive, pre-social media era when the movies that you loved felt like your own personal discovery and secret, no matter if it was 'Star Wars' or 'The NeverEnding Story.' How disappointing it was to learn later that everyone else loved them too. It's no surprise that 'The Legend of Ochi' was made by someone in this zone — an older millennial shaped by some combination of 'E.T.', 'The Black Stallion' and the Palm Pictures' Directors Label box set. Those DVDs taught many a cinephile about the transportive possibilities of music videos dreamt up by Spike Jonze, Chris Cunningham and Michel Gondry for artists like Aphex Twin, Daft Punk and Björk . That music video energy and committed world building is evident in 'Ochi,' in a positive way. It's a description that seems to be used more pejoratively than not, like shallowly dismissing something pretty as a perfume commercial. But perhaps those people just haven't seen the good ones. Helena Zengel is the central heroine, Yuri, who lives with her father Maxim and a de-facto brother Petro on the woodsy, old-world island of Carpathia. Maxim loves to hunt the Ochi, a species of primates that are constantly threatening the safety of the humans and their farms, and he's trained an army of young boys to help. Yuri is largely kept off to the side, partly for her protection, partly, probably, because Maxim is a blustery alpha male who dresses up in elaborate, ancient armor for his missions. Her armor is a dirty, oversized yellow puffer jacket that could double as a sleeping bag. At home, she stews silently and listens to death metal in her room. She's a bit feral, which would be a cliche trope for a girl raised without a mother, but Zengel makes it work. It's clear she doesn't feel at home in this world, but finds a kind of purpose when she comes across an injured baby Ochi and takes it upon herself to return it to its family. The Ochi, she quickly realizes, have been misunderstood too. It's still a dangerous journey, which involves a humorous and slightly disgusting visit to a local supermarket, the discovery of her own long-lost mother , and a comical, intense showdown between Watson and Dafoe. David Longstreth, of the Dirty Projectors, did the fanciful score and Evan Prosofsky is responsible for the vivid cinematography. 'The Legend of Ochi' was forged out of many influences, from Miyazaki to Amblin, and it's the kind of ambitious swing that Hollywood doesn't seem to take very often these days — especially not with a PG rating. That doesn't mean it all works seamlessly, though. The emotional beats don't seem to land as authentically as the more irreverent humor. But it's impossible not to admire the creativity, the imagination and the care that went into making something like this, with puppetry, matte paintings and inventive graphics, for a mere $10 million. 'The Legend of Ochi,' an A24 release in theaters nationwide Friday, is rated PG by the Motion Picture Association for 'some language, smoking, a bloody image, thematic elements and violent content.' Running time: 96 minutes. Three stars out of four.
Yahoo
14-04-2025
- Entertainment
- Yahoo
Must-see concerts this week: Kendrick Lamar, Paul Simon, Bob Mould
Here's a look at what's hitting Twin Cities stages this week. Tuesday, April 15 at The Cedar Cultural Center After a tour with Alan Sparhawk and the release of Halo on the Inside, the powerfully voiced Haley Fohr brings her dark, spectral music to the Cedar. The Chicago-based artist has an unmistakably powerful voice with an impressive range. The new record — produced by MN-based artist Andrew Broder — alternately feels influenced by Ministry, Aphex Twin, Philip Glass, and Kate Bush. Saturday, April 19 at Palace Theatre Bob Mould isn't just getting an honorary degree from Macalester College this spring; he's bringing his three-piece — with longtime collaborators Jon Wurster and Jason Narducy — to the Palace on the back of his 15th solo album, Here We Go Crazy, an album that feels reflective without navel-gazing or throwing his punk roots so far aside as to feel staid. Poster Children open. Saturday, April 19 at U.S. Bank Stadium The Grammy-winning rapper and star of February's Super Bowl Half Time Show will open his new tour at U.S. Bank Stadium. He'll be accompanied by SZA, who guests on two tracks of K Dot's new album, GNX. Expect a theatrical presentation from one of the most influential contemporary names in hip-hop. Sunday, April 20 and Tuesday, April 22–Wednesday, April 23 at Orpheum Theater The legendary songwriter retired from touring years ago, in part because of "severe hearing loss." Nonetheless, he's back on the road with a show designed by his team in collaboration with the Stanford Initiative to Cure Hearing Loss, which allows him to comfortably perform. It'll be Simon's first performance in Minnesota since his 2018 farewell tour. Sunday, April 20 at The Armory My Morning Jacket recently released is, the group's 10th studio album. Co-produced by Brendan O'Brien — a departure from having Jim James play a big role, if not the only role, in producing the past nine albums — it's notably different than their last few records. It doesn't rekindle the fire of their early records but does capture the kind of consistency that has made them something of an institution. I suppose that all means that the songwriting is tight, often catchy, but is without the adventurous spirit that blended alt-country with bombastic indie rock and a willingness to draw on more eclectic influences. That's not a terrible thing, especially for longtime fans who want to revel in what they already like about the Louisville rockers. Grace Cummings on Monday, April 14: ZDAY feat. Zora, booboo, Ori the Ghost, and Jupiter at Hook and Ladde The Great Guitars: Bireli Lagrene, Martin Taylor, and Ulf Wakenius at The Dakot Mumblin' Drew's Oldfangled Orchestrators at The White Squirrel Bar (free) shugE and Roe Family Singers at 331 Club (free) Concerts on Tuesday, April 15: Circuit des Yeux with Leya at The Cedar Cultural Center James McMurtry at Fine Line Improvement Movement at Turf Club Billy Prine presents: Songs and Stories of John Prine at The Dakota Rock Melon with Fiona Hayes & Despondent at Amsterdam Bar & Hall Taylor Robert album release with Wain McFarlane, Rox Prickel, and Jared McCloud at Green Room International Reggae Allstars at Bunker's Bad Weather, Spud & His Buds, Ramson, and Nobody From Nowhere at Palmer's Bar Danielle Durack, Blair Borax, and The Penny Peaches at Underground Music Cafe Rebecca Lake Fritz at 331 Club (free) Unattractive Giant Monster with Chris Cashin Band and Sparrowhawk at The White Squirrel Bar (free) The New Havoline Supremes at The White Squirrel Bar (free) Concerts on Wednesday, April 16: Sofia Isella with Brendan Abernathy at 7th St. Entry Big Richard with Caleb Caudle at Turf Club Hometeam Quarterback, Alpine Shepherd Boy, and Backgrounds at Zhora Darling Vincent Mason with Cole Goodwin at First Avenue Nim Vind, Evelyn's Casket, They Live, and Die Ghost at Hook and Ladder An Evening with Cheryl Wheeler and Kenny White at The Cedar Cultural Center Kassa Overall at The Dakota Marijuana Death Squads at Icehouse A/V Excursions with Altruit and Jump Loop at Berlin Twine at Bunker's Kerosene Heights, The Casper Fight Club, and Tiny Voices at Underground Music Cafe AJ Stone, Blame The Witness, and In the Distance at Can Can Wonderland Tea Doggy with Ghosting Merit and Yellow Ostrich at The White Squirrel Bar (free) Concerts on Thursday, April 17: Elderbrook with Jerro and Tonez at First Avenue Cindy Lawson with Bruiser Queen and The Reach Outs at Cloudland Theater Bossman DLow at The Uptown Theater Travis Anderson Trio at The Dakota Wayside album release at Amsterdam Bar & Hall BluLuna at Berlin Tanzklub, vol. 6 at Hook and Ladder Goldie with Submotive at Fine Line Constant Insult, Dauber, Christy Costello, and Step Sister at Zhora Darling Rosie Daze Band album release at Bryant Lake Bowl The Lagoons at 7th St. Entry Jay Bee & the Routine at Bunker's Ruth Mascelli/Mary Hanson Scott with Starflower at Berlin Phase Meridian, Onlytime, Thundergoat, and As Bullets Baptize at Underground Music Cafe Ghost Wagon single release party w/ Pat Lenertz and Friends at Icehouse Beneath Green with Matcha Fever, Tarias and the Sound, and Self Titled at Turf Club Bizhiki at Davies Center in Eau Claire, Wis. Devaney & Friends at The White Squirrel Bar (free) Amos Lucidi, piano at The Landmark Center (free)Concerts on Friday, April 18: Mogwai at Varsity Theater Coal Chamber with Fear Factory, Twiztid, Wednesday 13, and Black Satellite at Myth Live Dawes with Michigander (duo) at First Avenue Mssv with Charlie Parr Trio (ft. Greg Norton and Billy Dankert) at Turf Club Lenard Simpson Quartet at Berlin Look@Me, Poison Ivy and the People, and Linus at Zhora Darling Hunny Bear with Fuchsia and Heliocene at Pilllar Forum Olive Klug w/ Pine & Fine at Icehouse Sam MacPherson with Abby Powledge at 7th St. Entry Stage Fright: A Tribute to Bob Dylan and The Band at Hook and Ladder Lake with Babytooth at Cloudland Theater Tropidelic and Ballyhoo! With Joey Harkum at Fine Line Farah Siraj with Genet Abate at The Cedar Cultural Center Rosegarden Funeral Party with Summore and the Rope at Uptown VFW Evernoir, Queen of Dreams, and Witch Syndicate at Amsterdam Bar & Hall Johnnie Brown: The Music of Gregory Porter at The Dakota Early Evening Jazz: Zacc Harris's American Reverie at Berlin (no cover) Concerts on Saturday, April 19: Kendrick Lamar w/ SZA at U.S. Bank Stadium Bob Mould Band with Poster Children at Palace Theater A Tribute to Prince feat. former members of the original New Power Generation at Hopkins Center for the Arts BRENN! With asiris at Fine Line Corb Lund and Hayes Carll at The Cedar Cultural Center Hollywood Undead and Tech N9ne at Myth Live Alessia Cara at The Uptown Theater Mae Simpson with Hot Like Mars at Hook and Ladder Ben Nichols & Rick Steff with Colin Campbell (of The Shackletons) at Turf Club Muun Bato, Honeymoon Madness, and Lumari at Hook and Ladder Garrett Jones Quartet at Berlin Planned Parenthood Benefit with Blood Cookie and friends at Palmer's Bar Dashed album release with Lutheran Heat and Tight Whips at Cloudland Theater Dan Israel at Hell's Kitchen 8turn at Varsity Theater Maiden King with Robot Slide and Squinny at Pilllar Forum The Shabby Road Orchestra performs The Beatles' Sgt. Peppers Lonely Hearts Club Band at The Parkway Theater Social Animals (duo) and Creeping Charlie (solo) at Zhora Darling Miss Georgia Peach album release with Kinda Fonda Wanda at Uptown VFW Ben Nichols and Rick Steff with Colin Campbell (of The Shackletons) at Turf Club Nachito Herrera: The Last of the 50s at The Dakota Early Evening Jazz: Nick Bhalla (solo and trio) at Berlin Concerts on Sunday, April 20: Paul Simon at Orpheum Theatre My Morning Jacket with Grace Cummings at The Armory The Spine Stealers with Harlow and Walker Rider at Cloudland Theater The Big Zen20! Feat. Dosh and The Mortiholics at Hook and Ladder StoLyette with nectar at Berlin Knox with The Wldlife at Fine Line West Bank Social Club at Palmer's Bar Dr. Mambo's Combo at Bunker's Easter with Tina Schlieske and Friends at The Dakota Eleven Degenerates at 331 Club (free) The Church of Cornbread: Cornbread Harris and Friends at Palmer's Bar (free)Just announced concerts: May 1: Munson Fest feat. Chan Poling and Steve Roehm of The New Standards, Aby Wolf, Matt Wilson and his Orchestra, The Dust of Suns, Dylan Hicks, and more at The Fitzgerald Theater May 21: North Innsbruck, Magenta Vice, Night Audit, and Prodrome at 7th St. Entry May 30: afters at 7th St. Entry June 10: Sweet Spine at 7th St. Entry June 11: An Evening with John Gorka at The Parkway Theater June 12: Jessie Reyez with Raahiim at The Filmore June 14: The Great Northern + The Strolling Clones at The Cedar Cultural Center June 28: Porch Light at Fine Line June 29: Pepper with Cydeways at Fine Line July 20: Sam Barber at First Avenue July 25: Nur-D Chunkadelic album release show with Dakotah Faye, iLLism, and DJ Hayes at The Fillmore Sept. 11: Flatland Cavalry with William Beckmann at The Fillmore Sept. 13: Age of Madness at Fine Line Sept. 15: Mystery Skulls at Turf Club Sept. 23: An Evening with PUULUUP at The Cedar Cultural Center Sept. 24: Symphony X with Sonata Artica at Fine Line Sept. 25: Mama's Broke with Chris Acker at The Cedar Cultural Center Sept. 30: Willi Carlisle at Fine Line Oct. 4: An Evening with John McCutcheon at The Cedar Cultural Center Oct. 23: Arcy Drive with mercury at Fine Line
The Guardian
08-02-2025
- Entertainment
- The Guardian
Jpegmafia review – hip-hop gunslinger blasts away at his many targets
As one of hip-hop's most innovative outliers, Jpegmafia has come out tonight dressed like a bad guy in a western. All in black, including a cowboy hat and long leather coat, the maverick rapper swaggers around looking like the negative personification of Beyoncé's glittery country takeover Cowboy Carter, which scooped two Grammys last week. Jpeg's music, though, casts him as a bad guy in a post-apocalyptic genre meltdown – one in which no sound is too weird to rap to. Aphex Twin beats and a wordlessly ululating male voice? That's Real Nega, from Jpegmafia's breakout 2018 album Veteran. Japanese advert samples and chiptune video game sonics? They feature prominently on Garbage Pale Kids, a brilliant cut from Jpeg's collaborative album with fellow hip-hop left-fielder Danny Brown, Scaring the Hoes, which made many 2023 year-end lists. As genre barriers come down across the industry, guitars have become increasingly prominent in Jpegmafia's boundary-pushing output too. More specifically, they form the backbone of his most recent solo album, I Lay Down My Life for You (2024), just reissued in a bumper 'director's cut' version. Here are heavy riffs, buoyed up by innard-shaking bass and sledgehammer beats. Rap-rock has a deservedly knuckle-dragging reputation, but Jpeg's shredding bricolage has much more in common with the mischievous extremism of hyperpop producers such as Sophie than it does with Limp Bizkit. Undaunted, the crowd rearrange themselves into a series of moshpits – egged on by the man on stage, who, at 35, has come to terms with the fact that his cleverly deconstructed, polemical hip-hop draws a largely white, young male crowd. He's leaning into it and will be supporting Linkin Park at Wembley Stadium this summer. 'This next song means 'without fear', Jpeg declares, introducing his 2024 track Sin Miedo. It explodes with a mixture of rapid-fire retro hip-hop samples, electric guitar hooks and lyrical grandstanding that resolves into a pumping club-music finale. Next up is Don't Rely on Other Men, which revolves around a sample from Succession – Brian Cox muttering 'I hear you went down' – allied to thudding kick drum, church bells, found sound and a swell of guitar arranged like a string section. Although parallels exist with fellow hip-hop-inspired noisemakers such as Death Grips and rapid-fire sample fiends like the late MF Doom, Barrington DeVaughn Hendricks pretty much occupies a hip-hop sub-genre all his own. Originally from Brooklyn, via stints in Alabama and Baltimore, and now based in LA, his stage name riffs on the .jpeg image file format and his fans call him Peggy for short – just one of the many amusing contrasts thrown up by his work. Whenever he grows weary of stalking around tonight, he retires to a large lectern decorated with a Jpeg logo wreathed by palm leaves, as though the rapper were heading some international agency. Hendricks was honourably discharged from the US air force for reporting abuse. During his five-album solo career as Jpegmafia – more if you count the collaborations and emotional pre-Jpeg mixtapes as Devon Hendryx – it feels like this fierce artist now has all sorts of targets in his sights: other rappers, public figures, rightwingers, pearl-clutchers, phonies – and his own fans too. Veteran features a song called I Cannot Fucking Wait Until Morrissey Dies, just one early clue that Hendricks's frame of reference goes well beyond hip-hop. 'First off, fuck Elon Musk,' Jpeg raps at the start of Lean Beef Patty, a Scaring the Hoes track that goes down a storm tonight. On inauguration day last month, he released a video for his track Protect the Cross full of flags, explosions and anger at white people not voting for Kamala Harris. The track is present tonight. '2025, your politics is a gang sign,' he spits derisively. Although the surface impression of Hendricks is that of a noisy irritant whose tone and content are very online, his breadth of reference can be as dizzying as his fast-cut productions, from the NBA to Kenny Rogers. Accordingly, he released a pictogram-filled image of Protect the Cross's lyrics last month that specified which lines were and weren't Drake disses. (Other categories included 'ask a black friend to interpret this' and 'not about Taylor Swift'.) If there is one drawback to tonight's forceful performance, it's that all the punitive maximalism irons out Jpegmafia's subtleties and production nuance. The emotional heft in some of his work suffers too. There is only the briefest glimpse of his thoughtful side on Either on Or Off the Drugs, a bittersweet relationship song. Peggy may be angry, but he can be disappointed, considered and even lovelorn as well. There are chuckles to be had, too, in how he rains down verse after scabrous verse, accompanied by the sort of noise that the Geneva conventions might deem in breach of human rights. But in between tracks, Jpegmafia plays the solicitous emcee, introducing songs, thanking the crowd for their support and throwing out water bottles. Most extreme of all perhaps, this contrarian covers Carly Rae Jepsen's Call Me Maybe, completely straight-faced.
