LP! is yet another refinement from JPEGMAFIA, offering his most fully realized vision and hopefully only a taste of a freer artistic future. The music of…
Sympathy for Life represents a new tangent for Parquet Courts, but one that could stand to be attended to more. Remarkably dynamic and continually inventive, Parquet…
Weight of the World finds Maxo Kream once again improving his sound, carrying through his evolving maturity with ever-present swagger. Lately, Maxo Kream has been feeling…
Illusory Walls is a unification of The World is a Beautiful Place’s mythic ethos and philosophical ruminations, a bit of a rehash in content but an…
Eternal Home is a brilliant auditory tapestry unlike anything Angel Marcloid has produced before. Spanning a total of nearly 80 minutes, several movements, and countless genre…
Don’t Look Up is Adam McKay’s latest po-faced, celebrity-stuffed foray into unfunny finger-wagging and condescension. There’s a curious combativeness to the recent works of Adam McKay,…
National Champions isn’t even good enough to make the playoffs. Adapted from the Adam Mervis play of the same name, Ric Roman Waugh’s National Champions follows…
Coldplay Despite — and arguably, because of — their ambition to make music that will be listened to by large numbers of people, British pop-rock…
Red Rocket is an intentionally bad vibes experience, and while the film’s messaging is resolutely simplistic, it’s all kept afloat by Simon Rex’s year’s-best performance. It’s…
Mickey Reece makes idiosyncratic, uncategorizable films, chamber horror Agnes is his best film to date. Prolific Oklahoma underground filmmaker Mickey Reece is out there blowing up everyone’s…
The Flight Before Christmas is another inventive, droll effort from the Aardman team, imbuing their familiar stylings with a little misty-eyed holiday cheer. One might be…
The latest entry into the “quarantine art” canon, Project Space 13 is just another empty film with nothing substantive to say about our present moment.…
More poodle than Wolf, Biancheri’s film is a frustratingly tame and conservative treatment of potentially fascinating material. Ten years ago, a film like Wolf would have…
The Humans isn’t a subtle film, but mostly impresses thanks to surprising formal chops from playwright-turned-director Stephen Karam. In a millennium relatively lacking in original movie…
Castle Falls isn’t the DTV flick of the year that it’s inspired pairing teases, but its a solid little actioner that doesn’t overstay its welcome. DTV…
Single All the Way is as delightful and infectious as Hallmark-styled holiday films should be, and marks Netflix’s first such success in his arena. Netflix’s new…
As far as holiday traditions go, advent calendar are pretty lame; The Advent Calendar is lamer. Break out your horror premise Bingo cards, because if you marked…
Blue Bannisters is first Lana album in a while that isn’t exactly doing its own thing but it still presents occasional pleasures, even if it pales…
In These Silent Days breaks the COVID-19 album mold, with Carlile toward introspection and intense emotionalism without giving in to insularity. Brandi Carlile wrote the material…
Still Sucks doesn’t suck, but a weak back-half suggests Limp Bizkit still isn’t sure where exactly to take their sound/brand. Limp Bizkit had been trapped…
Miko Marks’ EP — a confrontation with outmoded country normatives — might be even better than her exceptional LP debut. After Music Row had silenced…