Spelled out in a brusque, harried introduction by Cabinet of Curiosities orchestrator Guillermo Del Toro (maybe 10% invested in his Hitchcockian hosting duties), Panos Cosmatos’…
Holy Spider fails to execute the tonal mastery needed for its material and is too self-conscious to occupy any pulpier territory. For approximately one year between…
Rob Zombie’s The Munsters is a film that resists obvious classification, a pure-hearted work that is proudly and thrillingly out of step with today’s world,…
Catherine Called Birdy features a pleasant, tuned-in script from Dunham, but the whole project is undermined by an unfortunate lack of aesthetic character. Her short…
God’s Country is an arrogant and painfully writerly project that is only occasionally uplifted on the strength of its visual flourish. A classic sort of…
When Robert Zemeckis set about making preparations for his adaptation of Jeff Malmberg’s 2010 documentary Marwencol, he was immediately confronted with a potentially project-killing conundrum.…
Outside Noise is an effortlessly accomplished work, unforced and moving toward an emotional spectrum out of the reach of most filmmakers. Ted Fendt’s body of…
Orphan: First Kill lacks the pulpy playfulness and satirical intent of the original, entirely misunderstanding its appeal and rendering this sequel an underwhelming curiosity at best.…
Bouncing back from two years worth of Covid-related disruption while still riding out some major switch-ups and art direction, the Locarno Film Festival returned in…
Honestly, Nevermind is Drake’s best record in a half-decade, a monumental work of pop music-making and a welcome disruption of his grab-bag approach to album construction.…
Post Malone’s latest is an anemic, pointless exercise that leverages Top 40-approved styles to lazy, uninspired ends. Few may have guessed that Austin Richard Post…
Sharp Stick is a more specific work than much of what Denham has produced in the last decade, but it’s hindered by an awkward, shaggy structure…
Marx Can Wait is a beautiful late work from an artist still pushing the limits of his self-exploration. One of the great canonical directors of…
Earwig is a welcome return for Hadžihalilović, but not a terribly memorable one, its more striking images and narrative subversions disempowered in their servitude to…
Preacher’s Daughter suggests fascinating and unpredictable future stardom for Ethel Cain. Ethel Cain arrived right on time, America currently enraptured with the style and cultural…
Clocking in a bit overlong and failing to reach Flume’s previous artistic peak, Palaces is nonetheless a breezy, catchy listening experience. The latest artist to…
While far from the first instance, Pratibha Pramar’s latest documentary My Name Is Andrea is one of the more high profile reclamations that radfem writer/orator…
Jack Harlow’s sophomore effort is a tedious affair to work through, built upon a disappointing collection of stock hip hop beats and routine bars. “Back…
No Fear of Time is a breezy, concise record that proves Bey and Kweli are still lively performers, even if it doesn’t do much to suggest…
Arguably the most significant acquitting factor and favored defense for his predominantly libertarian cinema, Clint Eastwood’s tendency toward unashamed self-critique and persona deconstruction has dictated…
Cocodrillo Turbo is one of Bronson’s finest releases in some time, managing to finesse the more challenged elements of other recent releases. Action Bronson arrived on…