Nounen Rena (Credited as Non) returns with her sophomore feature, writing, directing, and starring in Ribbon, a coming-of-age, Covid-set communion with the precipitate anxieties…
Taiwanese-American filmmaker Arvin Chen’s previous two features, Au Revoir Taipei (2010) and Will You Still Love Me Tomorrow (2013), are light, bubbly, visually vibrant…
The Wheel isn’t always a smooth ride, but it ultimately clicks into place in its affecting final stretch. When contemplating filmmakers who would attempt…
Anything’s Possible is a well-intentioned film that is unfortunately undone by its shallow lip service and artless execution. Amazon’s new teen romance Anything’s Possible…
There’s a wistful touch of George Bailey to the fatefully doomed protagonist of The Executioner (El Verdugo): José Luis is a Spanish undertaker yearning…
Where the Crawdads Sing is a soggy, laughably self-serious mess that isn’t able to calibrate its particular wavelength of melodrama. Based on the wildly popular…
Anonymous Club takes on a similar emotional shape to Barnett’s music, but largely fails to capture the same level of nuanced artistry. Danny Cohen’s Anonymous…
Kevin Gates It’s been a relatively humdrum couple of years for Kevin Gates, the bulky, burly-voiced performer who deals in big, pop-friendly melodies and…
Khaza is an imperfect album that requires you get on its wavelength, but in leaning more into his pop sensibilities that before, Gates at least…
Horsegirl’s debut doesn’t quite distinguish itself from the influences it so enthusiastically sources, but there’s plenty here to suggest bigger and better things going…
Big Time feels like a the start of a new era for Angel Olsen, an reinvention record that realizes the sound it seems she…
Hard is pleasant, lightweight bit of pop that feels grander than the sums of its modest parts. Hard is Swedish synthpop artist Tove Styrke’s first…
Chicamacomico is another sturdy and workmanlike collection from an act that’s been awfully great for nearly two decades. With Turnpike Troubadours still in an…
The Deer King is beautiful to look at and occasionally charming, but its underdeveloped plot gets in the way of any pleasures and makes for…
Gone in the Night is a slog undone by its own structural conceit, confining its compelling material to flashbacks and riding a wave of dull…
American Carnage is harmlessly fun and occasionally intriguing in its provocations, but it’s all predicated too closely on overly familiar touchstones. What’s the ideal…
Marx Can Wait is a beautiful late work from an artist still pushing the limits of his self-exploration. One of the great canonical directors…
Good Madam is elevated, theme-heavy horror done right, delicately refracting its discursive concerns through the lens of a haunted house tale. The lingering consequences…