No Time to Die is a gorgeous entry in the Bond canon, but abysmally paced and expository to a fault. After 15 years, Daniel Craig’s run…
In Ste. Anne, Rhayne Vermette strives to imbue narrative filmmaking with as much tangible texture as possible, even if that means freely disrupting said narrative…
Venom: Let There Be Carnage successfully course-corrects from the original, delivering a deeply funny and deeply human film that ranks among the best recent comic…
Bingo Hell is at least a horror film unlike last year’s Amazon/Blumhouse offerings, but is too full of questionable craftsmanship and hollow messaging to recommend. The…
Los Lobos’ Native Sons is a top-tier covers collection and a heartfelt love letter to Los Angeles. Long before their days of weighty concepts and…
NEED finds 3OH!3 returning to their late-aughts party rap roots, and reminding how much current hyperpop stars are indebted to their earworm sound. It seems impossible…
Wanda Jackson deserved a far better party than Encore for her send-off. Recorded in 2019, before she announced her official retirement, Encore will most likely be the…
1/6 is both a confident and vulnerable comeback for Sunmi, a synthpop work of polished songcraft and raw lyricism. Since 2017, K-pop artist Sunmi’s velvety synthpop…
Los Lobos Long before their days of weighty concepts and studio experimentation, Los Lobos cut their teeth as a wedding band, doggedly gigging across Los…
Connie Smith’s excellent The Cry of the Heart is proof that traditional country in 2021 doesn’t have to be mere museum curio. While many of country…
Titane admirably reconciles opposites and piles on texture and sensation, but ultimately reveals itself far too content to trade only in cliché. What is the role…
Old Henry is about as dusty and unoriginal as westerns come. Writer-director Potsy Ponciroli’s Old Henry dares to go where nearly every Western in the history…
How does one condense over five decades of history into the limited duration of two hours? By making a hacky, talking-head documentary, obviously. But before…
The Tragedy of Macbeth The Coens excel in films that flaunt a superficial mastery of genre, form, and cinematic grammar, all to arrive at intentionally…
Coming Home in the Dark isn’t breaking new ground and its ending is a bit too tidy, but it’s a film that feels genuinely dangerous for…
Bob Dylan’s 31st studio album was released to lofty expectations on September 11, 2001. Listeners who managed to snag a copy on that fateful day…
Dear Evan Hansen is a manipulative, unintentionally awkward musical plagued by a black hole of a lead character. Dear Evan Hansen makes a pretty strong…
The Guilty should be primed for easy thrills, but Fuqua’s bland direction and the Scriptwriter 101 screenplay sap the film of any tension. Antoine Fuqua has…
Relative to other prestigious annual film festivals, NYFF typically operates — like due to its situation within the calendar year — as more of a…
Lorenzo Vigas’s The Box opens with a monotonous thump: the rhythmic sound of a shoe beating against the stained stall of a moving lavatory introduces…
We’re now quite a few years removed from Ari Folman’s critically hyped festival and awards season run for his animated documentary Waltz With Bashir —…