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    Music Review

    Doug goes on the record: Review of Pete Yorn and Scarlett Johansson EP

    Doug McGrath
    Jun 4, 2018 | 9:00 am
    Pete Yorn, Scarlett Johansson
    Pete is on the left, Scarlett's on the right.
    Photo courtesy of Capitol

    Editor's note: Doug McGrath is a music contributor with four decades of experience as a member of the Dallas music community. This week, he reviews a new EP from Pete Yorn and Scarlett Johansson.

    Band name: Pete Yorn and Scarlett Johansson
    Album: Apart EP, released June 1 (Capitol Records)
    Rating: 2.5 out of 4
    One line: Singer-songwriter and actress collaborate on a second release.

    Review: This may come as a surprise to those who know my musical tastes, but I'm actually a big fan of Pete Yorn. I feel like he's underrated but his records are well crafted, and although he's a singer-songwriter, he and his touring and recording guitarists are talented and never boring.

    He's also not afraid to try new things, like his collaboration with actress Scarlett Johansson.

    He and "Scar," as he calls her, have known each other for more than 15 years and have collaborated previously. Yorn reached out to her in 2006 after being inspired by a collaboration between French artist Serge Gainsbourg and French actress Brigitte Bardot, who teamed up in 1968 on an album Bonnie and Clyde.

    Yorn admits that prior to recording with Johansson, he didn't even know whether she could sing. Nonetheless, the two recorded an album of nine songs called Break Up.

    Separate interests got in the way before the two could release the record. Yorn released his 2006 album Nightcrawler and went on tour; Johansson made other musical excursions, including an appearance with The Jesus and Mary Chain at Coachella in 2007. She also released an album of Tom Waits covers, Anywhere I Lay My Head, in 2008.

    It wasn't until 2009 that they finally released Break Up. It peaked at #41 on the Billboard 200 — not as big as Yorn's 2003 release, Day I Forgot (which reached #18), but more than 20 spots higher than either of his subsequent two records. Clearly, they were on to something.

    Nearly a decade later, they return with this new EP, which picks up where their previous album left off, detailing the aftermath of a break-up: missed opportunities, thinking about the past, finding hope.

    Relationships are familiar territory for Yorn. On early hits such as 2003's "Long Way Down," he showcases his skill at penning good relationship one-liners like "I don't want you, so why should I compete with other guys?"

    But on that material there's no female foil. Once you hear him and Johansson sing together, you appreciate the fact that the combined male and female vocals make the songs more interesting and entertaining than those told from just one voice.

    I'll get right to it: Scarlett Johansson is good on this. If you listen to her as just another performer, and not someone famous, her voice sounds good next to Yorn's. She has a wide vocal range and a sound that puts you at ease. She la-la-las beautifully but can also hit deeper notes than you might expect.

    The vocals are very front and center. Normally, I might not like that. But it's effective enough to hook even a non-lyrics guy like myself, and I didn't miss the heavier musical component normally present on a Pete Yorn record. Getting lost in a story is one of the redeeming qualities of Apart, and one that Johansson's presence seems to have added.

    Her character sets the scene on the first track, "Iguana Bird," with the lyrics, "Do you like how you're living your life, away from me?" What plays out over the rest of the EP is a series of answers to that question.

    She starts the second song, "Bad Dreams," as well, with a vocal style that has almost a twangy accent. She and Yorn trade half-verses about the sleepless worry of their messy lives, and harmonize together, "We will always have bad dreams."

    On this song, and on most of the EP, Yorn's vocals are a little quieter than Johansson's, making her the lead in many of the choruses. Her voice has a sweet lullaby quality, while Yorn plays a warm, lower-register supporting role.

    The third track, "Movies," is an introspective and moody song, dominated by an element generally absent from Yorn's other studio material: keyboards. In this slower, airy piece, the two sing about going to the movies, harmonizing on a simple refrain: "I don't want to run without you."

    On "Cigarillo," Yorn leads the song, and he does mention the cigarillo, in case you're wondering: "I tried to call you out at night, a cigarillo in your eyes." Relationship tension on this one is external, as he laments how "everyone just cut you off, told me you're not good enough."

    The EP closes on the bouncy and addictive "Tomorrow," a reworked song from Yorn's 2016 album, Arranging Time. The characters seem to be back together and mildly optimistic: "Hand on your heart, tomorrow is another day. Hand on your hope, tomorrow we will get away." In interviews, Johansson says she liked this song and wanted to sing it. Her smoky voice fits right in, dominating the effortless-sounding harmonies on the chorus.

    It's too bad Apart only has five songs; I'd like to hear a full LP, and would like to see them tour together. But I'll make sure I see the next Pete Yorn tour, with or without "Scar."

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    Movie Review

    Amanda Seyfried and Sydney Sweeney go off in trashy film The Housemaid

    Alex Bentley
    Dec 19, 2025 | 12:24 pm
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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