“Rock and Roll Band,” the rousing, celebratory track that opens side two of the vinyl LP edition of Boston’s 1976 self-titled debut, spins the tale…
Free Guy is the rare tentpole based on an original idea rather than existing IP, and supplements that present-day novelty with a game cast and genuine…
In the history of metal music, there are perhaps no other records met with as much variance of opinion as Metallica’s 1991 self-titled album, which…
Beckett On paper, Beckett would seem to hold plenty of promise. Directed by Ferdinando Cito Filomarino and produced by his ex, Luca Guadagnino, the film…
Respect is a generic, overlong, unconvincing slog that’s disrespectful to the Queen of Soul’s legacy. When it comes to portraying pop culture icons known by millions…
Beckett rides the talents of its stacked crew to the most generic possible destination. On paper, Beckett would seem to hold plenty of promise. Directed by…
Thrice Upon a Time is yet another bold, challenging, pathos-filled apocalyptic plunge into the human psyche. Hideaki Anno is doing it all over again. No,…
Shunji Iwai is one of the most reliably adventurous mainstream directors in world cinema today. A quick look at his recent output: After his epic…
1982’s supernatural horror flick The Entity — based on a true story, mind you — concerned a woman who was repeatedly assaulted and raped by…
Following the success of a documentary based on their experiences as addicts, two of the subjects and the director of Reindeerspotting: Escape From Santaland take…
There’s a rich history of indie filmmakers getting their start with low-budget crime pictures. It’s easy to see why: The genre gives ample opportunities for…
Bull There’s no shortage of revenge pictures out there; at this point, it’s such a well-trod genre that it’s gone through its own classical-to-revisionist-and-back-again cycle.…
F*ck Love 3 proves The Kid LAROI is still just as basic as he seems, seeking celebrity and fleeting pop trifles at the expense of artistic…
An umotivated album that never sparks to life, Vince Staples continues the rapper’s post-Big Fish Theory downward slide. When Big Fish Theory dropped in 2017, it…
Exit Wounds proves more rollicking that Dylan’s more introspective solo work, not a full success but still a testament to the easy pleasures of his roots-rock…
Hideaway is simply more of the same for Wavves, a band that feels past their expiration date. So great was the thirst for music festival-friendly indie…
Fresh off re-upping their current record contract, AKMU delivers an EP in Next Episode that marks a career milestone. Although they’re under the K-pop umbrella, sibling…
The Kid LAROI The story of The Kid LAROI thus far, for those not in the know (which, to be fair, would be the majority…
If EST Gee’s latest mixtape can sometimes feel a bit too hubristic, it’s still a swaggy invitation to get in the know before it’s too late.…
CODA’s personal storytelling and intelligent subversion of its middlebrow formulae make for a surprisingly affecting viewing experience. The title of Siân Heder’s sophomore feature is…
White As Snow adds a wry wrinkle of feminist reclamation to its classic storyline, but unfortunately fails to successfully execute much else. Like so many other…