The next song “ Lifeline” talks about a similar topic in a soft peaceful way with beautiful harmonies. “Control” follows right after - a powerful track where Wees thanks someone for helping her through her anxiety. The song is about a broken relationship that ended up not working out. Wees slows it back down with the ukulele-supported “ Love Should Be Easy,” which best showcases the softer side of her voice. The tempo picks up with the next two tracks “ Lightning” and “ Girls Like Us.” In “Lightning,” Wees sang about persevering in the midst of hardship, while in “Girls Like Us” she expressed insecurities other girls can relate to. “We were never rich kids, rich kids / And always had a wish list at Christmas / I thought that I was missin’ somethin,'” Wees sang in the chorus. Wees starts off the album slow with the piano ballad “ Sorry For The Drama.” In this song, she sang an apology to her mom for being upset about not having a normal childhood compared to other kids. She has a perfect mix of uptempo tracks and ballads that mesh well with the raspy tone in her vocals. Wees talked about deep topics while still making the project sonically enjoyable to listen to. She sang about struggles with anxiety, depression, loneliness, relationships and growing up without a father. “Therapy” is a pop album where Wees showcases real and raw vulnerability in her lyrics. Six years later, Wees has finally put out her debut album. She also competed on the Germany series The Voice Kids in 2017. Wees is from Hamburg, Germany and first became an artist by working on music with her former teacher now turned manager, according to an interview with Notion. This is her first full-length project since her breakout hit single “ Control” in 2020. German singer Zoe Wees released her long-awaited debut studio album “ Therapy” Nov. This review is the opinion of the writer. These informed critiques are published to make a recommendation to readers. Transparency item: A review provides an informed and opinionated critique. The cover artwork shows the artist looking up as she leans back in a chair. Cage makes Paul so distinct and credible that the film never becomes meta in the way of last year's sly satire The Unbearable Weight of Massive Talent, in which Cage played a fictional version of his meme-ified self.Zoe Wees's first studio album "Therapy" is a reflection on her past experiences. Cage has said about the character, "I had the life experience to play him because what happened to so-called Nic Cage with the internet." Yet the film doesn't wink at the audience. Soon the nightmare version of Paul takes on a life of its own, detached from anything he has said or done. He deftly signals that something in this film's world is abnormal. That is revealed in the film's trailer, but Borgli also drops a huge clue when the film opens with ominous, horror-movie sound effects and images flashing on screen of an apparently ordinary scene by the family's pool that turns out to be anything but. Paul basks in the viral fame that comes from being a benign, passive presence in the background of everyone's dreams until he starts turning up in violent nightmares, leaving people as terrified of him in life as if he really were Freddy Krueger. And he hopes to find a publisher for an academic study in evolutionary biology – his book on ants – even though he has yet to start writing it or anything else. He asks for an apology from a graduate school colleague whose recent publication borrowed a vague idea Paul floated decades before. In a masterfully droll, low-key performance, Cage grounds the film in the reality of this ordinary man living in the suburbs with his wife (Julianne Nicholson) and two teenaged daughters.īut he and Borgli also reveal Paul's delusional expectations. Paul is socially awkward and looks like a walking cliché of a professor – balding, with wire-rimmed glasses and a beard. But this film reminds us of how amusing he is as a schlubby sad sack, like Charlie Kaufman's fictional, less talented twin, Donald, in Adaptation (2002). – Saltburn review: 'Luridly entertaining'Ĭage's name, of course, brings to mind his many over-the-top, meme-fuelling roles, and maybe his dramatic triumphs in films like the recent Pig (2021). Cage plays Paul, a nondescript professor who, for no reason, starts popping up in other people's dreams – first his family's, then his students' and strangers' all over the world. In this delirious dark comedy, Nicolas Cage and director Kristoffer Borgli (Sick of Myself) take us down a rabbit hole, with the eccentric, unclassifiable star ideally paired to a filmmaker with a wonderfully mordant imagination.
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