Let us look past the recent suicide attempt, (the American Idol songstress) the mediocre past album sales, that vocal that can sharply divide a room of people into admirers and enemies. Back to Me, the R&B singer's third record, finds Fantasia reflecting on her inner demons and the demons of those she chooses to surround herself with. It really is back to Fantasia, even if the quasi-sentiment conflicts with recent happenings. Often times suffering from dated, over-productions in the studio (and Back to Me sure has its share of moments), Fantasia's gems in her back catalog are primarily the frivolous, booty-shaking numbers ("Not the Way I Do," "Hood Boy," "Selfish," "Baby Makin' Hips"). What is a shame is that she's never been able to translate what kind of artist she intrinsically is; her ballads (where her voice, that amazingly untrained and unhinged Patti LaBelle meets Cookie Monster voice) seems insincere and tamed on tape. Back to Me seems to have slightly improved on this. "The Worst Part is Over" is full of emotion, "The Thrill is Gone," featuring her male counterpart Cee-Lo of Gnarls Barkley fame, is one of her best and believable ballads to date. "Collard Greens & Cornbread," despite its vapid title and slightly messy production, is delightfully swaying and nice. "Even Angels," the first promotional song released, is the singer's most successful and accessible single to date, even if it only dented the charts. The stand-out track here, though, is "I'm Here," taken from the musical in which she (sometimes) starred in The Color Purple. With only a few meandering strings, plucking guitars, and tinkling piano, Fantasia's voice is the driving force. Back to Me is a small step in the right direction for the singer, whose place on the urban charts, honestly, will probably not ever reach the highest of places. Fantasia is a soul singer to the core, whose voice can convey much more than is offered in a cookie-cutter, generic R&B feel-good number.
Rap, Pop/Rock, Alternative Rap, Underground Rap, Left-Field Hip-Hop 
When club owner Tess (Cher) hires charismatic Ali as a cocktail waitress, the ambitious big-city newcomer goes to great lengths to make a good impression. Taken under the wing of a friendly featured dancer (Julianne Hough), Ali quickly realizes that not everyone is quite as nice when she forms a friendship with bartender/aspiring musician Jack (Cam Gigandet) and incurs the wrath of the club's cattiest showgirl (Kristen Bell). After making her leap to the stage with a little help from a sympathetic stage manager (Stanley Tucci) and the club's playfully androgynous host (Alan Cumming), Ali becomes the star attraction at The Burlesque Lounge, and the crowds start packing in. Later, a wealthy businessman (Eric Dane) makes a bid for the club while trying to charm the talented young performer straight into his arms. 
Let us look past the recent suicide attempt, (the American Idol songstress) the mediocre past album sales, that vocal that can sharply divide a room of people into admirers and enemies. Back to Me, the R&B singer's third record, finds Fantasia reflecting on her inner demons and the demons of those she chooses to surround herself with. It really is back to Fantasia, even if the quasi-sentiment conflicts with recent happenings. Often times suffering from dated, over-productions in the studio (and Back to Me sure has its share of moments), Fantasia's gems in her back catalog are primarily the frivolous, booty-shaking numbers ("Not the Way I Do," "Hood Boy," "Selfish," "Baby Makin' Hips"). What is a shame is that she's never been able to translate what kind of artist she intrinsically is; her ballads (where her voice, that amazingly untrained and unhinged Patti LaBelle meets Cookie Monster voice) seems insincere and tamed on tape. Back to Me seems to have slightly improved on this. "The Worst Part is Over" is full of emotion, "The Thrill is Gone," featuring her male counterpart Cee-Lo of Gnarls Barkley fame, is one of her best and believable ballads to date. "Collard Greens & Cornbread," despite its vapid title and slightly messy production, is delightfully swaying and nice. "Even Angels," the first promotional song released, is the singer's most successful and accessible single to date, even if it only dented the charts. The stand-out track here, though, is "I'm Here," taken from the musical in which she (sometimes) starred in The Color Purple. With only a few meandering strings, plucking guitars, and tinkling piano, Fantasia's voice is the driving force. Back to Me is a small step in the right direction for the singer, whose place on the urban charts, honestly, will probably not ever reach the highest of places. Fantasia is a soul singer to the core, whose voice can convey much more than is offered in a cookie-cutter, generic R&B feel-good number.
ary) that, here, has so much more meaning and resonance (vintage furniture) than any other film where the lead characters do accomplish 1000 times more than any of these characters do.
learns he was adopted-but most scandalous is that his birth mother was Jewish! And his given name was Solly Shimshillewitz! As Mahmud tumbles into a full-scale identity crisis, a true comedy of religious errors unfolds. (Tribeca Film)
