Contrary to popular (mis)conception, great horror doesn’t often come from trying to evoke fear from viewers. The audience is a vague, nebulous concept, and trying…
The Adam Project takes the shape of any number of sci-fi adventure romps, but offers a surprisingly developed emotional core. It’s been quite a while since…
All My Friends Hate Me’s off-kilter framework is both a blessing and curse, but there’s an abrasive charm for those willing to play its uncomfortable…
Even more than most of the genuine oddities that have managed to find their way into the that motley crew known as the Canon (whatever…
Donda 2 is an essential Ye album even in its likely unfinished form, taking his curative, experimental approach to record-making to its most thrilling extreme…
Big Thief’s latest is yet another impressively cogent, boundary-shattering work from indie rock’s preeminent musicians. After double-dipping in 2019 with U.F.O.F. and Two Hands, Big…
On Dope Don’t Sell Itself, the king of 2010s features feels more than a little dusty, ironically shown up by every feature on the record. …
Welcome to the Block Party is a buoyant, confident riff on the ’90s country-pop aesthetic. There’s nothing subtle about the title of Welcome to the Block…
Slut Pop is a dull novelty record about sex without much to offer beyond shock value and a desperate bid for naughtiness. In the past…
Kanye West A new Ye record means yet another round of gleeful denouncements from an increasingly frail, corporate press apparatus, solemn assurances that this time…
Ultrasound is appealing in spurts but frustratingly sticks to a safe middle ground where it could have stood to be messier. Rob Schroeder’s Ultrasound exists on…
The Long Walk is an intricate and elegant work, sure to be one of the year’s best genre efforts and a remarkable calling card for director…
Feast exists in the liminal spaces between fact and fiction, a wholly original work that forces viewers to grapple with its themes in troubling, unexpected ways.…
Last Exit: Space engages in plenty of stimulating rhetoric, but its muddled tone and underwhelming visual aesthetic undermine much of its cinematic appeal. Given the endless…
The Seed offers plenty of gooey, gloopy genre fun, but is ultimately too scattershot and arrhythmically paced to fully recommend. There’s always room out there for…
Preceded by Ripe, Parlour Palm, and A Woman’s Block, Eve’s Parade is filmmaker Rebeccah Love’s final entry in a quartet of films depicting women who struggle against societal expectations,…
Train Again is yet another bold, precise, and transcendental work from Peter Tscherkassky. As InRO contributor Brendan Nagle once observed, the image — 24 of them…
Turning Red is another Pixar dud that trades in cheap cribbing at the expense of real originality. Once an unimpeachable bastion of creativity and imagination,…
Fresh isn’t actually all that fresh. From a narrative perspective, Fresh is a nearly impossible film to write about without beelining straight to spoilers. There’s…
While nowadays regulated to the lowly status of a legacy act, mainly trotted out whenever some late-night comedian wants to make some forced joke about…
Dear Mr. Brody is powerful in spurts and conceived of in fascinating terms, but Maitland struggles to reconcile his disparate threads into a cohesive whole. Keith…