Parallel Mothers If Pedro Almodóvar’s pandemic short The Human Voice hinted at a freshly energized director liberated from the burden of expectations, then his latest…
The Velvet Underground proves an interesting resting place for a litany of period detritus, but stumbles when foregrounding its titular subjects. Todd Haynes, a noted semiotician,…
After Asako I & II, Hamaguchi’s latest can’t help but feel like something of a step backward into less aesthetically daring filmmaking. “Once Again”, the third…
“I’m sorry if I doubted your good heart / Things always seem to end before they start.” A ruefully apologetic Lou Reed sings these words…
The French Dispatch For better or for worse, there are few working American auteurs whose visual stamps are as broadly and immediately recognizable as Wes…
Bergman Island is an intentionally ephemeral, frictionless bit of meta-fiction, conceptually justifiable but all the more frustrating for it. Mia Hansen-Løve’s Bergman Island is, quite literally,…
The Blazing World is a disarmingly charmless and amateurish series of indie genre check-boxes that amounts to a whole lot of nothing. With horror films in…
Trip at Knight is the best album Trippie’s put out in a minute, a record of creative production and genuine feeling that only occasionally stumbles. Ohio…
Solar Power isn’t an outright failure, but it holds little of the ecstatic energy that defined Lorde’s first two records. Lorde’s star rocketed in the first…
While better than the first King’s Disease album, Nas’s follow-up isn’t much more than an exercise in oldhead legacy maintenance. Is Nas in “rare form,” as he…
Sam Williams’ major label debut proves he possesses his family’s talent, but also suggests he hasn’t yet asserted his own musical identity. If nothing else,…
Nas Is Nas in “rare form,” as he claims on King’s Disease II, or just a tad moldy? This question was already resoundingly answered on…
Madres hardly justifies the whole Blumhouse/Amazon deal, but it’s at least the best of the eight films that have come courtesy of it. Director Ryan Zaragoza’s Madres is…
The Manor isn’t necessarily a good film, but it’s a fun enough lite-horror outing that reflects an improvement from the Blumhouse/Amazon team-up. The law of averages…
Diana: The Musical is a tacky and tactless propanada mission that subverts its own fun flashiness with remarkable bad taste. When I was thirteen, I was…
Suzanna Andler seems to spawn from a place of loving tribute, but it does little to contribute new insight or appreciation. During her lifetime, Marguerite Duras…
V/H/S/94 isn’t entirely successful, but it marks an upswing for the anthology franchise from its last entry. The first V/H/S film was a novelty, a throwback to…
The Rescue is a moving work a immersion and stitch-work, crafting an empathetic documentary from its headline-grabbing story. Elizabeth Chai Vasarhelyi and Jimmy Chin have a…
The Many Saints of Newark is an affectionate but utterly empty and unnecessary return to the world of Tony Soprano. It always going to be a…
Black as Night is a remarkably dull vampire flick riddled with awful centrist politics. Part of the second wave of Blumhouse castoffs that have been repackaged…
Red Rocket It’s been far too long since we’ve been graced with a legitimate performance from Simon Rex a.k.a Dirt Nasty, the most esteemed white…