More poodle than Wolf, Biancheri’s film is a frustratingly tame and conservative treatment of potentially fascinating material. Ten years ago, a film like Wolf would have…
The Humans isn’t a subtle film, but mostly impresses thanks to surprising formal chops from playwright-turned-director Stephen Karam. In a millennium relatively lacking in original movie…
Castle Falls isn’t the DTV flick of the year that it’s inspired pairing teases, but its a solid little actioner that doesn’t overstay its welcome. DTV…
Single All the Way is as delightful and infectious as Hallmark-styled holiday films should be, and marks Netflix’s first such success in his arena. Netflix’s new…
As far as holiday traditions go, advent calendar are pretty lame; The Advent Calendar is lamer. Break out your horror premise Bingo cards, because if you marked…
Blue Bannisters is first Lana album in a while that isn’t exactly doing its own thing but it still presents occasional pleasures, even if it pales…
In These Silent Days breaks the COVID-19 album mold, with Carlile toward introspection and intense emotionalism without giving in to insularity. Brandi Carlile wrote the material…
Still Sucks doesn’t suck, but a weak back-half suggests Limp Bizkit still isn’t sure where exactly to take their sound/brand. Limp Bizkit had been trapped…
Miko Marks’ EP — a confrontation with outmoded country normatives — might be even better than her exceptional LP debut. After Music Row had silenced…
Tech N9ne still has technical proficiency to spare, but Asin9ne is both undercooked and overstuffed, offering no reason for the rapper to retain relevance. It…
Lana Del Rey As much as there’s an aesthetic and thematic throughline to Lana Del Rey’s discography, it’s also true that each new Lana album…
Welcome to Raccoon City is a deeply faithful Resident Evil adaptation, and a deeply bad one at that. If there’s a guiding principle to Resident Evil: Welcome to…
Flee is inoffensive and sweet enough, but also a totally blunt object that fails muster much actual power under the influence of its overt messaging. Danish…
Penny Lane’s Listening to Kenny G is a work of discursive extrapolation, a probing work that finds in the artist’s divisiveness some interesting threads worth pulling. Saxophonist…
Benedetta is as bawdy as any Verhoeven on paper, but the director’s uncharacteristically meek directorial approach renders the film far tamer than it should be.…
Silent Night is more holiday punishment than gift. Featuring a floor-to-ceiling stacked cast and a festive setting and title, one might assume that Silent Night, the…
Try Harder! submits itself to a certain festival-friendly documentary texture rather than acting as a probing reflection of its sociopolitical environment. One of the many tensions…
Encanto can be a bit boring, a bit shallow, and a bit underwhelming in the musical department, but its gorgeous animation and rather quaint character make…
The Summit of the Gods proves that the new subgenre of mountaineering movies can successfully and beautifully extend to the world of animation. The rapidly…
Bruised is a dumb, derivative riff on Rocky, yet another work of deglamorization that fails to scrape beyond its grimy surface. It seems only appropriate that a…
There’s a potentially great movie buried in Encounter, one that Pearce scuttles in service of a high concept that goes mostly nowhere. Riz Ahmed has…