Of the eight directors drafted to the roster of Guillermo del Toro’s Cabinet of Curiosities, Catherine Hardwick may be the oddest choice. Technically, she does…
Utama is undeniably one of the year’s most gorgeous works of image-making, but its narrative and thematic expressions are less consistently impressive. Over the past two…
Please Baby Please is a gauche and grimy good time, and might wind up as 2022’s best bit of playful kink. It’s the rare film that…
Bloom isn’t going to be remembered as the knockout pop album of the year, but it does mark both PiXXiE and LIT Entertainment as must-follows in…
Despite its slightness, Slash/Back still proves a diverting, charming girl power romp. Nyla Innuksuk’s Slash/Back opens to the singular vocal stylings of Inuk throat singer Tanya…
Ballerini’s latest leans into her strength as a writer, and builds upon her previous works in a welcome fashion. Subject to Change is country singer-songwriter…
Smile is an obnoxious attempt at subverting trauma horror, sunk not only by its own smug conceit but also its failure to capitalize on its unique…
Even given the present soulless age of Disney franchise resurrection, Hocus Pocus 2 is a slight and bargain bin sequel that will likely appeal only to the…
Gasoline’s title track in an unfortunate low point on Key’s second full-length LP, but the album’s b-sides remind that he’s one of the most magnetic…
The well-intentioned On the Come Up wants to challenge audiences, but can’t overcome a wholly inauthentic and sanitized presentation of its material. After Rosie Thomas shot to…
Checkmate is a flawed record, but in true Itzy fashion, refuses to take itself too seriously and knows that the group’s sense of fun is its…
Emails I Can’t Send is a sonically unfocused record that lacks successful production choices, but it also delivers one of the year’s top pop singles. Sabrina…
Special is an undeniably imbalanced record, but it’s saved by the strength of its intimate back-half and b-sides. “Hiii, motherfucker, did you miss me?” begins…
The farcical elements of The Good Boss amusingly build across its runtime, but by the end the film feels a bit too schematic and overly…
Slow cinema miserabilism — right up there with elevated horror and anything written by Steven Knight (Serenity gloriously excepted) — is among the most irksome…
Aubrey Plaza remains one of our most intriguing stars, but Emily the Criminal imprisons its leading lady within anonymous old-school thriller retread. Anyone not already convinced…
The city of Bristol has a reputation which far proceeds itself. Known as a grungy site of resistance, from the Bristol Bus Boycott of 1963…
The Nan Movie aspires to recreate old sensations, but spills out as a shadow of its former self. Whither, the British comedy? Once, this land…
Hard is pleasant, lightweight bit of pop that feels grander than the sums of its modest parts. Hard is Swedish synthpop artist Tove Styrke’s first album…
Cop Secret begins with a dubious premise and carries it through to inauthentic and aesthetically false ends. It’s the Icelandic homophobia-baiting comedy you didn’t know…
Fire of Love is an gorgeous visual document that is somewhat undermined by its inorganic and distracting voiceover work. Despite boasting a title that seems…