Spaceman is yet another Nick Jonas album that refuses to push beyond familiar, facile sentiment and songwriting. After briefly recentering his identity, again, as “The…
BbyMutha’s surprise EP once again proves that she is a crucial influence in hip hop’s present and (hopefully) future. This past August, BbyMutha released her…
Lynn’s latest, unfortunately, is another instance of her merely repeating herself without much beyond her legacy to justify its existence. In referencing one of her…
Is 4 Lovers both reminds of DFA’s appeal and evinces the diminishing results when they stray from their template. Death From Above 1979 seem to…
Carrie Underwood At no point in her career has Carrie Underwood hidden her Christian faith; after American Idol, and the coronation single that followed, both…
Moffie is a visually striking film but one which suffers for failing to fully commit to the ugliness inherent to its narrative. Moffie is the…
Lana’s latest seems destined to be lost among grander statements, but is nonetheless another worthy work of self-exploration from one of music’s most introspective stars.…
Scary Hours 2 isn’t the full album Drake promised, but inspires listeners to keep the faith that whatever he is planning is worth the wait. Last…
Adult Mom’s latest is a lyrically-tight exploration of shared human bonds under the weight of a failed system. Adult Mom’s third record, Driver, brings with…
It’s not the best album to come out under the Griselda Records banner, but The Plugs I Met 2 shows Benny the Butcher still can…
Orcutt and Corsano provide an example of what improvisational albums should sound like, even with the production constraints of a pandemic-driven world. One of the…
Obviously is the perfect blend of genres and tone, showcasing each musician’s specific talents while presenting a cohesive album destined to be a staple in their…
Lana Del Rey Few pop artists in recent years have oscillated between mass adoration and mass infamy as regularly as Lana Del Rey, recipient of…
Slalom is a raw and unpretentious study of trauma and the ways in which young women can wrest back control of their own course. The…
Held manages to best Cluff and Lofing’s The Gallows, but it still an abysmal, problematic, and tension-free failure. The new marriage-in-peril thriller Held comes courtesy…
“Movies don’t scare me” — said a straight-faced and stoical John Carpenter to Mick Garris in a 1982 television interview called “Fear on Film.” (Accompanying…
The Power doesn’t hold a lot of mystery but thrives by situating its political and cultural critiques as blunt, horrific text. There’s something sinister lurking…
Mamade Claude isn’t much more than shallow period dress-up and empty provocation. Set, for the most part, in the final tumultuous years of the Swinging…
Concrete Cowboy features a pair of solid performances and a sleek visual design, but suffers under the weight of its paint-by-numbers approach to narrative. Set…
Funny Face works as genre deconstruction and cinema of a certain geography, but its attempts at explicit commentary are less successful. Tim Sutton is a…
Under the guise of complacent nothingness, the characters of Philippe Garrel’s Regular Lovers manage to paradoxically enact and participate in sundry relationships, death drives, drug…