A&E

GRAMMYS: We answer America’s burning question of the week: “Who the heck is Arcade Fire?”

SIMON: Noise-rock alchemists Sonic Youth stick to sporadic sounds on their first film soundtrack.

MAJESTIC: The god of epic New Age music has returned, bringing the Nineties back with him.

“The Colored Museum” premiered in 1986 under the direction of George C. Wolfe and has been brought back to passionate, captivating life by our very own Claire Trevor School of the Arts Drama Department, under the direction of Jaye Austin Williams. This play allows the audience to realize that African American slavery does not merely remain an event of the past. It’s understandable for viewers to expect “The Colored Museum” to be a heavy, dramatic performance; I was expecting to find an extended example of the interpretation of black slavery in the play. To my surprise, I laughed as many times as I gasped and grimaced during the eclectic play — “The Colored Museum” is the expression of every angle of thought and emotion, both understood and hidden, on the subject of African American oppression as well as submission into society.

KEY: A swan song for Oberst and Co., final album brings promise of new musical directions.

ROMANCE: The inclusion of gnomes in this Shakespeare adaptation ultimately bears too little fruit.

COMEDY: Fresh from his successful role in “The Hangover,” Ed Helms plays the same character here. By Wes Koseki

CARS: The latest entry into the old racing video game series fails to adapt to the next-gen gaming systems.

SYNTH: Cut Copy’s new album is a solid set of high-energym Eightie’s-inspired pop tracks.

VISCERAL: The sequel to 2008’s hit “Dead Space” delivers an exhilarating and harrowing experience.

SEXO: Electronic beats replace Ricky Martin’s signature Latin fever and ultimately bear disappointing results.

CAVES: With its predictable story and flat characters, this action thriller turns out to be limp.