A Night of Knowing Nothing is a fascinating work of formal and intellectual hybridity. Beautifully dispatched through its entanglement of formal hybridity, Payal Kapadia’s A Night…
Catch the Fair One doesn’t quite pull off its untidy ending, but it’s still an impressive bit of viscerally and emotionally pummeling cinema. Integrating the texture…
Let’s keep it simple — Gunna is at the top of the rap game. Well, he’s gone and done it again: Gunna has released yet…
Even when Frayed at Both Ends isn’t peddling Lewis’s particular propaganda, it’s a mostly turgid, mediocre affair. In July 2021, Aaron Lewis released “Am I the…
With And Now, Let’s Turn the Page…, Cobb shares a brand of southern gospel keenly focused on a particular shared experience. Thinking back on my…
Mitchell’s first solo work since Hadestown is a warm, lingering look into the past. Hadestown has ruled the last decade of Anaïs Mitchell’s career, and…
The Lumineers might have commercial accolades behind them, but Brightside offers further proof of their artistic devolution. After a slower rollout than normal, The Lumineers…
Gunna Well, he’s gone and done it again: Gunna has released yet another masterpiece, the type only Gunna could or would ever make. But we’re…
Branagh seems more preocuppied with his acting than his directing, but Death on the Nile retains a high enough enjoyment floor according to its playful whodunnit-isms…
Here Before suggests early promise, but ultimately settles into rote psycho-thriller styling and manipulative table-setting. Stacey Gregg’s Here Before has all the markers of a good…
Fabian bears perhaps a thin thesis, but Graf remains a sly evangelist for and director of the dignity of disorder. Early on in Fabian: Going…
Playground is a penetrating, enveloping, and often brutal portrait of childhood. Playground, Laura Wandel’s first feature, is indeed set on an actual playground, but perhaps its…
The distance between Cam’ron’s debut album Confessions of Fire and his fourth one, canonical 2000s NYC rap opus Purple Haze, isn’t so great, a matter…
The Other Me amounts to little more than an empty spectacle banking on David Lynch’s name. Let’s get it out of the way: the most interesting…
There’s some mild fun to be had with Last Looks’ particular soft noir style, but it ultimately registers as a pale imitation of something you’ve seen…
Lingui is a middlebrow arthouse trifle that offends in its simplicity and deference to narrative convenience. Lingui, The Sacred Bonds, the latest from Chadian director Mahamat-Saleh…
Moonfall is big, dumb, exuberant fun and a welcome blockbuster-sized tonic from the endless IP regurgitation clogging theaters. Who’s ready for another disasterpiece from the…
Like so much recent horror, Slapface relies too heavily on soft metaphor, but there’s sufficient talent here to still keep things interesting. Jeremiah Kipp’s Slapface…
Framing Agnes — the second feature-length documentary directed by Chase Joynt, who also co-directed No Ordinary Man (2020) — lays the vast bulk of its…
Perhaps because artists are so often misfits, unable to easily fit in to the normal currents of society, the slacker remains one of cinema’s enduring…
Framing Agnes Framing Agnes — the second feature-length documentary directed by Chase Joynt, who also co-directed No Ordinary Man (2020) — lays the vast bulk…