Describing music as lulling you to sleep usually isn’t complimentary, but for the hushed, meditative world of Hypnos, it’s high praise. Hypnos is R&B singer-songwriter Ravyn…
Face the Sun is a progression for Seventeen, an altogether grander, more cohesive record that proves a wonderful addition to their stellar discography. Thirteen-member boy group…
mxmtoon’s latest doesn’t yet have the feel of a finished product, but it still offers a nice primer on the current shape of Gen-Z pop.…
On the Count of Three can be uneven and frequently toes the line of twee, but ultimately settles into the right mix of broad comedy…
This Much I Know to Be True is a flowing, amorphous music-doc experience, both capturing and emulating the particularity of Nick Cave’s late-career art. The…
Inbetween Girl manages to avoid the tepid dramatics of so many teen-screen films, but too often succumbs to bouts of preciousness and self-conscious affectation. The problem…
Hello, Bookstore is soothing, cozy documentary but one entirely devoid of stakes or storytelling thrust. Hello, Bookstore opens with footage shot in the early weeks of…
Polar Bear is a pleasing visual document and marks something of a welcome pivot for Disneynature, but still boasts a low ceiling thanks to the…
Petite Maman is both Sciamma’s most intimate and epic work, a gently profound fable about youth’s uneasy passage into adulthood. Celine Sciamma’s characters have always existed…
You Won’t Be Alone is an emotional and aesthetic masterwork, and a stirring expression of the human condition. Goran Stolevski’s feature-length debut, You Won’t Be Alone,…
Despite its workaday subject matter, Cow is still recognizably an Andrea Arnold film, mostly for the better. Depending on your perspective — and depending on…
Squirrels to the Nuts may not rise to the level of salvaged masterpiece, but it breezily reasserts the legacy and artistry of Peter Bogdanovich. The rediscovery…
Night’s End is a Frankensteined mess of horror movie modes that never achieves any formal or thematic cogency. Jennifer Reeder has always gravitated toward highly particular…
Turning Red is another Pixar dud that trades in cheap cribbing at the expense of real originality. Once an unimpeachable bastion of creativity and imagination,…
Fresh isn’t actually all that fresh. From a narrative perspective, Fresh is a nearly impossible film to write about without beelining straight to spoilers. There’s…
Catch the Fair One doesn’t quite pull off its untidy ending, but it’s still an impressive bit of viscerally and emotionally pummeling cinema. Integrating the texture…
Playground is a penetrating, enveloping, and often brutal portrait of childhood. Playground, Laura Wandel’s first feature, is indeed set on an actual playground, but perhaps its…
The Tiger Rising falls flat on its face. Despite a title that would seem to suggest some kind of magic-tinged narrative, The Tiger Rising is…
Brighton 4th is but the latest example of festival-facing cinema slipping into anonymity under the weight of overly familiarly elements and arcs. There’s a scene midway…
The Last Thing Mary Saw is sedate bit of moody horror that takes an array of cinematic reference points and flattens them until there’s little…
#6. Given the current character of the music industry,“online music” is quickly approaching obsolescence as a useful label — if ever it was one. The relationship…