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…
Tech N9ne still has technical proficiency to spare, but Asin9ne is both undercooked and overstuffed, offering no reason for the rapper to retain relevance. It…
Lana Del Rey As much as there’s an aesthetic and thematic throughline to Lana Del Rey’s discography, it’s also true that each new Lana album…
Welcome to Raccoon City is a deeply faithful Resident Evil adaptation, and a deeply bad one at that. If there’s a guiding principle to Resident Evil: Welcome to…
Flee is inoffensive and sweet enough, but also a totally blunt object that fails muster much actual power under the influence of its overt messaging. Danish…
Penny Lane’s Listening to Kenny G is a work of discursive extrapolation, a probing work that finds in the artist’s divisiveness some interesting threads worth pulling. Saxophonist…