Mike argues to the judge that he'll be able to keep the old man in his own home, as he desires. But when everything gets OK'd, Mike just dumps the guy into the same retirement facility the state was going to order him into. Things get complicated when the man's teenage grandson (Alex Schaffer) shows up, having run away from his drug-addled mother. But when the sweet if monosyllabic kid turns out to be a champion wrestler, Mike sees another plus to having taken on such responsibility. Of course, the consequences of his choices aren't as gilded as they promise to be.

Giamatti is as likable as he's ever been as the good-natured but slightly devious Mike, aided by an entertaining supporting cast that includes Amy Ryan as his no-bullshit wife, Bobby Cannavale as his goofy best friend, and Jeffrey Tambor as an eye-rolling fellow lawyer/wrestling coach. McCarthy, auteur of The Visitor and The Station Agent, laces his smart drama with a fair dose of humor without it ever seeming forced. (Even the couple's little girl, played by Clare Foley, is funny without being movie-cutesy.)

Underlying the begging-to-be-wacky circumstances is, most prominently, the theme of family—specifically, the ones we're born into versus the ones we create, whether they include friends, co-workers, or strange teens who appear at our door. In the end, selfishness turns into selflessness. Predictable, yes. But engrossing nonetheless.

On Sunday, the New York Times ran an article about Jim O'Rourke, an underground overachiever who, in addition to recording his own solo music, has played in Sonic Youth and Gastr Del Sol, and worked in various other capacities with Wilco, Joanna Newsom, and Superchunk.

His latest project is the new solo album The Visitor, a recording that, at times, features as many as 200 tracks of instruments.

As one might imagine, an album such as this would require quite an intricate mix, which is perhaps why The Visitor will only be available on CD and vinyl—no digital download.

Here's part of the Ben Ratliff article from NYT:

He’s taking a stand against the sound quality of MP3s; he’s also taking a stand in favor of artists being able to control the medium and reception of their work.

“You can no longer use context as part of your work,” he said, glumly, “because it doesn’t matter what you do, somebody’s going to change the context of it. The confusion of creativity, making something, with this Internet idea of democratization ...” he trailed off, disgusted. “It sounds like old-man stuff, but I think it’s disastrous for the possibilities of any art form.”

He's not the first artist to attempt a download pushback. But is he a part of the vanguard or a dying breed?