Britney Spears occupies a weird, unique space in the pop spectrum. She’s been compared to past greats like Madonna and Kylie Minogue, but she lacks the latter’s self-aware creativity and mentioning her in the same breath as the former is, frankly, insulting. A common complaint with Spears is that she doesn’t write her own songs, which, the argument goes, somehow equates to a lack of talent, but the same can be said of Elvis Presley, Michael Jackson, Frank Sinatra… the list goes on. She isn’t blessed with the preternaturally skilled vocals of a Mariah Carey or a Tina Turner, but her music has never been about her voice so much as her personality. And her personality is just what has carried her this far, when contemporaries like Mandy Moore and Christina Aguilera are becoming Starbucks whores and public laughingstocks, respectively. Spears is the ultimate pop chameleon, transforming from sly school girl with enough sexual innuendo to inspire thousands of illegal fantasies to a robotic dance-floor dominatrix, confident enough to overcome tabloid dramas that have ruined lesser stars. In many ways, Spears needed that separation from her past self to become the four-on-the-floor mistress she is on Femme Fatale. Calling Britney a pop singer is doing the term a disservice; she is much more of a pop bellwether, subject to the whims of the Top 40 crowd and more than happy to adapt to environments that have cruelly undone lesser icons. There’s a reason Aguilera’s last album sold barely north of 110,000 copies and Spears’ single “Hold It Against Me” has the most aggressive beat on mainstream radio today. Spears shows a willingness to reinvent herself that belies her fragile personal life and, most importantly, keeps her on the cutting edge of pop music.

Not only is it a fun and thrilling adventure but “Limitless” also leaves the audience asking themselves if they’d do the same thing if given access to a drug that could create an enhanced version of yourself. After all, in a time where scientific breakthroughs are quickly changing the world we live in, the prospect of a powerful smart drug may not be too far away.

An eternal question in the indie industry – keep doggedly pursuing your artistic vision, maybe one defined by jagged bursts of post-punk and a singer whose just as likely to veer into screeching wails as he is a soulful hum, or get your shit together and make something perhaps more palatable for your average rock listener? It’s not too hard to see on what side Mine Is Yours falls – producer Jacquire King, whose behind-the-boards work catapulted Kings of Leon from Southern rock also-rans to multi-platinum lords of radio, is on hand, and singer Nathan Willett is content to focus on “love and relationships” in his lyrical matter…

Sometimes the best songs are those that don’t take any extra thought to delve into, any unnecessary analysis or self-introspection. Sometimes the best songs just click, hitting home with visceral emotion and lyrics that don’t skip around the point but take aim right at it. Anyone’s who’ve ever lost someone, whether emotionally or literally, can relate to this song, which speaks to loss and hope better than almost any other song I’ve ever heard. And frankly, that ragged guitar solo is genius.

Perhaps the most surprising thing about Halcyon Digest was just how warm everything sounded. Whereas Bradford Cox and company’s earlier work tended to be unwieldy messes of noise thrown loosely under the shoegaze label, Halcyon Digest continued what 2008′s Microcastle begun: transforming Deerhunter into a full-fledged rock band, feet firmly planted in pop territory and beckoning us to just relax and enjoy. When I first heard “Revival” I was astonished at just how straightforward everything was, how easy it was to connect to a band I previously had regarded as somewhat cold. But things aren’t just direct; there’s a depth to these songs that, coming from Cox, is not much of a surprise, but makes Halcyon Digest something more than just a really good rock album. Songs like the self-destructing “Desire Lines” and the gorgeous dream of “Helicopter” seem like the new classic rock, all substance and style without a tipping of the scales one way or the other. “Coronado” is the best Strokes song since Is This It. “He Would Have Laughed” might be the most tragic song of the year, but it’s spindly buildup and cathartic ending seem positively joyful. Halcyon Digest is a record that seems destined to stand the test of time, constructed as it is out of the timeless building blocks of music: guitar, bass, vocals and drums, all done so effortlessly that it’s hard to believe Deerhunter have been doing this for years.

TRON: Legacy is the long awaited sequel to the granddaddy of nerd cult classic films, 1982′s Tron. While the original film was hailed for it’s technological advancements (that are, ironically, laughable by today’s standards) the modern rendition will be praised for its visual spectacle complete with neon lights and electronic music provided by Daft Punk…all you need is an ecstasy pill and you’ll be happier than an underage hipster at a rave.

If you’ve ever been disturbed by the idea of an overweight man (who’s been observing your behavior for the past year) sneaking into your home when you’re asleep to leave you things he thinks you want, then prepare yourself for a severe spike on the Santa Claus Creep-o-Meter when you watch Rare Exports: A Christmas Tale. It’s a Yule-tide tale so harrowing, you’ll think twice before you hang up your stockings this year.

Garden Of Eden is a film adaptation of Ernest Hemingway’s novel of the same name, which was released posthumously in 1986. Nearly thirty years later, it is still considered to be one of his most mysterious and controversial works. Screenwriter James Scott Linville and Director John Irvin attempt to capture the provocative nature of this novel, succeeding in most departments.