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Host Michel Martin continues the conversation with Cleopatra Cowley-Pendleton. Her 15-year-old daughter was shot to death in Chicago last month, and President Obama highlighted the tragedy in his State of the Union address. Cowley-Pendleton talks about what she would like national leaders to think about when debating gun control policy.

It's pretty hard for any band to remain relevant for as long as Depeche Mode has been around. But in a new video, the group, which owned part of the '80s and '90s with a slew of electro-rock hits, shows it's still inspired to create, and more reflective.

Guitarist Bill Frisell shines in three very different settings: with his band reworking John Lennon tunes, in a duo with violinist Jenny Scheinman, and with The Bad Plus playing music of Paul Motian.

If the clunky, clueless A Good Day to Die Hard achieves anything during its noisily explosive 90 minutes, it settles the long-running debate about which film in Bruce Willis' action series is the worst. Hint: It's this one.

The supernatural romance could well have foundered amid its unwieldy mix of dark magic and Dixie camp. But it somehow succeeds — especially when it casts aside complications and focuses on the simple story of young love in the middle of it all.

George Prendes was 23 when he was sentenced under New York's Rockefeller drug laws — tough mandatory sentencing guidelines for nonviolent drug crimes. The 15 years Prendes served for a drug transaction still reverberate for him and his family.

Robert Siegel talks to Democratic Sen. Patty Murray of Washington. She's chair of the Senate Budget Committee, and Senate Majority Conference Secretary, making her the fourth highest ranking Democrat in the Senate. They discuss her hopes to forestall the coming sequester.

The vote makes the former Republican senator the first defense nominee to be filibustered.

Olympic "Blade Runner" sensation Oscar Pistorius was arrested after his girlfriend, a budding model, was shot dead at his house on Thursday.

The cheery, cheesy Shanghai Calling trots out familiar plot lines and retread characters in a made-for-TV-style pastiche. But it's an enjoyably familiar journey of American migration that embraces its globally minded audience with open arms.