Over half a century into Frederick Wiseman’s storied career, the legendary documentarian’s interest in systems — that is, how they function in relation to the…
When asked why he murdered ten people over an eight-day period, the unnamed narrator of Bruce Springsteen’s epic “Nebraska” replies, “Well, sir, I guess there’s just…
In an effort to reboot our music coverage, In Review Online is launching monthly features devoted to reviewing new album releases. Last month, we launced εὐδαιμονία (or, Eudaimonia),…
Our fifth and final dispatch from the 2018 Toronto International Film Festival (here’s the first, the second, the third, and the fourth) represents perhaps our most eclectic group of…
Based on a pair of memoirs, authored by father and son David and Nic Sheff — which detail the latter’s meth addiction and general self-destructive…
Our fourth dispatch from the 2018 Toronto International Film Festival (here’s the first, the second, and the third) continues sifting through the various cinematic voices, styles, and pedigrees that make-up this…
In an effort to reboot our music coverage, In Review Online has launched monthly features devoted to reviewing new album releases. One such feature is What Would Meek…
Life’s a Trip, SoundCloud rapper Trippie Redd’s debut album, communicates much through its cover art, which distorts Trippie’s likeness into a revolting disembodied figure surrounded by various freaky/goofy cartoon characters.…
“Jealousy is a disease / die slow,” Nicki Minaj whispers to her critics at the end of “Majesty.” It’s devilish — almost pure evil —…
When YG snarls, “Fuck the president, fuck the Po-po” on Stay Dangerous opener “10 Times,” he doesn’t do so proudly or with any detectable joy, but rather with dejection…
“I’m a young dread-head with anxiety,” asserts Aminé, late in the second verse of “Reel It In,” off his newest mixtape OnePointFive. It’s a strikingly honest sentiment,…
On paper, Kamikaze should work: It’s Eminem returning to his battle rap roots, cutting out the overblown pop choruses and cringy classic rock samples that…
Young Thug has always had a way with words — not necessarily in terms of the words themselves, but with regard to how he says them. His…
The stripped-down premise and formal exactitude of John McTiernan’s 1987 Predator are precisely not present in Shane Black’s The Predator, the latest attempt to drag-out and elaborate on a…
Our third dispatch from the Toronto International Film Festival (here’s the first and here’s the second) includes our takes on a few hold-overs from this year’s Cannes slate…
Our second dispatch from the Toronto International Film Festival (here’s the first) acts as a nice microcosm of the fest as a whole, and of…
L. Cohen, the latest from American avant-garde director James Benning (and also a tribute to the late Canadian singer-songwriter), is a work of rare beauty —…
This year’s Toronto International Film Festival, it has to be said, looks as if it may be one of the strongest slates since our site first…
Vacillating between brutality, mysticism, and comedy, Rungano Nyoni’s I Am Not a Witch offers a cinematic approximation of a traditional African fairy tale; it tells the story…
From a distance, Kin looked like a pretty promising mid-budget sci-fi. But if you can’t engage in Marvel-style big budget spectacle, you better have some…
Riley North’s (Jennifer Garner) retribution in Peppermint doesn’t begin with her husband and daughter being murdered by drug dealers. It begins with some other, more wealthy…