Procession is a work of communal catharsis, applying Greene’s particular documentarian inclinations to emotionally potent ends. Certain films allow cinema to display its unbridled capacity for…
The First Wave isn’t much more than an ornamental object, pointlessly self-assured in its distasteful aesthetic manipulations. The compartmentalization that contemporary documentary tends to engender —…
House of Gucci is relentlessly entertaining spectacle, utterly soapy and only occasionally undermined by some bland prestige film sheen. Ridley Scott goes two-for-two this year, first…
Punk is a jumbled, inconsistent mess, and the latest misstep from a once-great artist to now regularly makes them. What does one expect from Young Thug…
Let Me Do One More isn’t quite as sonically succinct as past Illuminati Hotties records, but it’s rich in its emotional contours and progressions. Producer and…
You Get It All is Carll’s best work since his debut, every track here an outright winner. An artist whose rapturous reception in his early career…
Notable about Lil Wayne and Rich the Kid’s collab on Trust Fund Babies is just how much fun they’re having here in a natural, impromptu kind of…
The latest live recording of A Love Supreme is a revelation, with Coltrane blowing the standards to smithereens. For decades, the only known live recording of…
Young Thug What does one expect from Young Thug in 2021? Since his arrival onto the contemporary hip-hop landscape nearly a decade ago, he’s managed…
The Strings is pure vibe-y lite-horror, director Ryan Glover skilled at eerie mood-setting and constructing effective compositions and ambiance. Ryan Glover’s new film The Strings is almost…
The Trouble with Being Born is remarkable not just for its futurism and ambient atmosphere, but for the care with which its relationships — not all…
From the outside, Peter Nicks’ documentaries follow in the path of Frederick Wiseman’s institutional portraits. Nicks’s first, second, and third films (The Waiting Room, The Force, Homeroom) correspond…
A recent episode of Saturday Night Live included the latest iteration of a recurring sketch, “The Dionne Warwick Talk Show,” which parodies Warwick’s latter-day pop-culture presence as…
It seems fair to suggest that The Forgotten Ones is a film for the Western Jews, communities of the diaspora, a collective lost to the Zionist campaign…
Burning Vividly illustrating Australia’s devastating “Black Summer” wildfires, which raged off and on from June 2019 into May 2020, Eva Orner’s new non-fiction film Burning…
C’mon C’mon is a distinctly inauthentic, contrived viewing experience more likely to have viewers chanting “go away, go away.” Next only to dead wives, doomed love…
Thy Kingdom Come feels like what it is — deleted scenes from (and a misapprehension of) To the Wonder rather than a supplement to its beauty.…
Black Friday comes loaded with potential, but ends up roughly as enjoyable as visiting a Wal-Mart on the titular holiday. Casey Tebo’s Black Friday, a horror-comedy…
Afterlife is more rehash than reinvention of the Ghostbusters brand, cloying and desperate in its mode of pure nostalgia. Ghostbusters: Afterlife is an almost purely nostalgic experience, but it…
I Was a Simple Man is a wildly contradictory affair, rife with unresolved ideas and a deluge a thematic material that find little purchase. “Maybe we…
Long Promised Road’s focus on Wilson’s present day adds dimension to his story, adding resonant beats to a beloved old tune. Brian Wilson, the singer-songwriter…