A.D. Amorosi Green Day has a real knack for showing off its distaste with the sociopolitical landscape and its disgust for growing up with curt, caustic humor and seductively contagious melody — most of all in the handsome bookends of 2004’s “American Idiot” and, now, “Saviors.” The Bay Area post-punk trio couldn’t have done better for a real or imaginary sequel to the preceding Bush-era classic than this week’s bruising, culture-bashing release.
