Juicy J There are few constants in this precarious universe that we inhabit: the sky is blue, the grass is green, and as long as…
Fernanda Valadez’s debut, while sometimes frustratingly broad, tells a well-known tale through unusual eyes, giving the classic immigration tale a welcome twist. Within a cinematic…
Rather than recalling Bahrani’s past strengths, The White Tiger only serves to draw out the director’s worst instincts. Filmmaker Ramin Bahrani has long focused on…
Our Friend upends some familiar conventions of the terminal illness narrative, but also boasts plenty of missed opportunities. One of the things that can only be…
Some of the most elegant and graceful tracking shots ever seen open Agnieszka Holland’s Spoor. They may be drone or helicopter-assisted; the camera, gravity-defying, soars over…
Notturno is at times oddly diffuse, but the harrowing brutality it captures bears undeniable power. The echoes of war reverberate throughout Notturno, a film of unnerving…
Atlantis is an unsettling, poignant study of the casual violence that both informs the past and estimates the future. With Atlantis, director Valentyn Vasyanovych (also editor…
The Salt of Tears is a pensive film that finds the aged director again reckoning with notions of parenthood, permanence, and familial legacy. Over the course…
Gillian Welch Sometimes you have to almost lose something in order to realize just how much it’s worth. Such is the case with Boots No.…
D’orjay thrillingly embraces the country genre without any of the historical limitations, biases, and white supremacism. Much of the discourse about country music in 2020…
Autechre’s mass and density hasn’t changed so much as has its distribution of those welcome, riveting qualities. Only in the world of Autechre could the…
Savage Mode II’s half-hearted experimentation makes for diminishing returns this time out for 21 and Metro. If Savage Mode is the cult classic that introduced…
The superb, three-volume Boots No. 2 proves there’s no need to worry about Welch running out of material any time soon. Sometimes you have to…
Downfalls High barely qualifies as a film and attempts little but manages to ride MGK’s guiding charisma to some playful places. If you were one of…
When Olivier Assayas’s Irma Vep came out in 1996, the brash, freewheeling experimentalism of the French New Wave was already long in the rearview. Luc…
Episode Description: This week, we continue our look at 2020’s very strange summer movie season by tackling the first wide release of the summer —…
Some Kind of Heaven finds legitimate pathos within the oddball trappings of a would-be utopian retirement community. From the cold and gloomy vantage of New York’s…
Whole Lotta Red is a versatile, experimental, and grand pop statement from a singular artist in full command of his authorship. Whole Lotta Red is, above…
Lopatin’s patchwork panoply of snippets and songs in collision is kaleidoscopic, peaceful, and placating. The purloined production of Daniel Lopatin’s Magic Oneohtrix Point Never, “recorded”/constructed…
The Album isn’t the mic drop record its title suggests but still mostly thrives on the strength of BLACKPINK’s exuberant stylings. After spending the past couple…
The two volumes of Cuttin’ Grass succeed at the difficult task of making retrospective work feel both new and essential. The concept of the “greatest hits” set…