Monthly Archives

September 2016

by Sam C. Mac Current Music

M.I.A. | AIM

September 29, 2016
mia

“Who said it was easy?/They can never stop we” sings the most put-upon recording artist of the last decade, who’s never stopped pulling up her people even as she’s endured pop culture’s repeated persecutions. It’s from the last song on what may be the 41-year old provocateur’s final album, AIM, and it’s as summative an emotional statement as “Borders,” the set’s opener and lead single, is a thematic one: This is an album that makes a negotiation between the commercial…

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by InRO Staff Features Festival Coverage

Toronto Film Festival 2016 – Dispatch 2

September 26, 2016
nocturama-banner

The 41st Toronto International Film Festival recently wrapped, and our writers were on hand to soak up the cinema bounty. Our second and final dispatch (find our first here) features some heavy, (seemingly) politically-minded films, including Bertrand Bonello’s festival fire-bomb Nocturama, which was rejected by both the Cannes and Venice film festivals; Gianfranco Rosi’s Fire at Sea, a documentary about the European migrant crisis; and Oliver Stone’s latest biopic, Snowden.…

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by InRO Staff Features Festival Coverage

Toronto Film Festival 2016 – Dispatch 1

September 23, 2016
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The 41st Toronto International Film Festival recently wrapped, and our writers were on hand to soak up the cinema bounty. Our first of two dispatches includes hotly anticipated fall releases like Denis Villeneuve’s mysterious sci-fi film Arrival and Barry Jenkins’s decades-spanning character study Moonlight; holdovers from the competition lineup of this year’s Cannes Film Festival, including Asghar Farhadi’s The Salesman, Christian Mungiu’s Graduation, and Jim Jarmusch’s Paterson; and a smattering of films looking to translate TIFF 2016 buzz to a wider audience, like actress Alice…

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by Matt Lynch Current Film

Sully | Clint Eastwood

September 7, 2016
sully

Late in Eastwood’s chronicle of Captain Chesley “Sully” Sullenberger’s emergency water landing of US Air 1549 (dubbed the “Miracle on the Hudson”)—and the investigation that follows—Sully (a white-haired Tom Hanks) turns to his co-pilot (Aaron Eckhart), saying, “We did our job.” That pretty much sums up this simple story of pragmatic, unassuming, collective heroism and cool thinking in a state of crisis. Sully manages to save every passenger on board and is hailed as a hero by the media.…

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by Paul Attard Current Music

Rae Sremmurd | SremmLife 2

September 6, 2016
SremmLife 2

If there were a kingdom for party music, brothers Swae Lee and Slim Jimmi of Rae Sremmurd would be its anointed princes. The two came out of nowhere when, last year, their debut album SremmLife went gold, fulfilling the promise of the two hits that preceded it, “No Flex Zone” and “No Type.” While the duo continued to dominate that airwaves that summer, it’s been surprising since to see this album cycle’s slew of singles go largely ignored. Not a one of these songs is bad,…

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by Luke Gorham by Sam C. Mac Retrospective Film

The Whispering Star | Sion Sono

September 2, 2016
Whispering Star

While much of Sion Sono’s early-aughts filmography is littered with cycles of violence and horror—films that plumb the depths of a darkness seemingly inherent in humankind—the ever-ubiquitous director’s finest of a whopping five 2015 theatrical releases pointedly proffers a rejection of its post-human world. With The Whispering Star, Sono opts for a lo-fi science-fiction yarn, a literal chamber drama defined by its textured images. He shoots in a high-contrast black and white, with stars, matches, and candles becoming light sources against an oppressive blackness…

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by 
Drew Hunt Retrospective Film

The Virgin Psychics | Sion Sono

September 1, 2016
Virgin 2

Sion Sono’s The Virgin Psychics is one strange movie, though not for the reasons his films are usually strange. True to its title, this high-concept comedy about a group of virgins who are bestowed fantastical abilities mixes the supernatural with frank illustrations of sex and desire, and while it features a number of crude and off-color gags, the tone is so lighthearted and inclusive that it ranks among the director’s least aggressive films. Like a screwball comedy director working in…

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