This week’s takeaways: Life+Style

Del Shores is back! For someone who’s not from Dallas, Winters, Texas native Shores has spent a lot of time here, and he’s back on Friday at the Rose Room inside Station 4, for yet another one of his standup performances. If you haven’t seen him before, trust me: He’s bitchy, dishy, energetic and hysterically funny. The show’s at 8 tonight, so get your tickets now.

As a child of the 1980s, I’m not ashamed — OK, I’m a little ashamed — to say I listened to Air Supply. Worse, I even enjoyed them. And bought their records. Why not? They sang catchy songs — and the likes of Jim Steinman (Meat Loaf) even wrote and produced some of their songs, so you can’t dismiss them entirely. Well, at 10 a.m. June 15, tickets for their Dallas concert (on Sunday July 29) at the Winspear go on sale at ATTPAC.org. I can’t guarantee there will be a rush on the box office, but I bet it sells really well. There are a lot of us out there.

After more than a month, Bernie continues to sell out shows at Landmark’s Magnolia Theatre, and with good reason: The East Texas comedy is spot-on hilarious about a gay mortician who is the darling on a town that makes Tuna, Texas, look like San Francisco. Jack Black deserves an Oscar nominations. See if before it goes away. On the other hand, it’s not a bad idea to steer clear of Rock of Ages, a joylessly awkward and slogging film musical that’s saving grace is the romance between Russell Brand and Alec Baldwin.

Jersey Boys plays for about a month at the Winspear Opera House, but Bloody Bloody Andrew Jackson at Theatre 3 won’t be here quite that long, and is definitely worth a look-see.

—  Arnold Wayne Jones

FILM REVIEW: “Rock of Ages” hits sour chords

The movie musical has been through a dazzling evolution since the days of the talkies, from stage-bound hokum to brash on-location masterpieces to animated delights. Shoehorned in those, is the lamentable MTV genre, where a song-dense soundtrack of rock songs express the characters’ inner lives, only without the characters themselves singing. Footloose, even Top Gun, fall into the category. Occasionally, we still get the old school versions of classic musicals, like Chicago. Mamma Mia and the upcoming Les Miserables movie, as well as the TV show Glee.

But how well can you combine the ’80s brand of jukebox rock into a traditional musical format? Not well, judging by the disastrous Rock of Ages.

—  Arnold Wayne Jones

REVIEW: “Mission: Impossible — Ghost Protocol”

Usually, when an action star agrees to star in a “fourth film in a trilogy,” the decision reeks of desperation. It’s a kind of acknowledgement by the actor that his star has reached its apogee, that audiences wanna see him in one thing and one thing only. By the time Bruce Willis signed on for Die Hard IV, he hadn’t had a bona fide star-driven hit since The Sixth Sense; Sly Stallone quickly settled into a routine of Rocky-Rambo movies, and hasn’t really tried to break the pattern since; Vin Diesel and Paul Walker both skipped a Fast-Furious movie to pretend some confidence in their starpower, but they quickly returned; even Harrison Ford hadn’t seen a name-above-the-title victory since 2000′s What Lies Beneath when he finally did Indy 4.

So when Tom Cruise, now pushing 50, followed M:I3 with duds like Lions for Lambs and Knight & Day, his decision to sign on to do Mission: Impossible — Ghost Protocol, reeked of last-ditch career move. And honestly, for about the first 20 minutes, as Cruise sucks in his gut and throws back his shoulders to look like the unrelenting superspy Ethan Hunt, it feels that way. But then the movie just gets good.

—  Arnold Wayne Jones