Broadcast Signal Intrusion is built on used parts, but Gentry executes his vision with queasy dread and necessary ambiguity. Working late nights transferring tapes of old…
André De Toth is one of the great, unsung directors of Hollywood’s Golden Age. As Fred Camper noted in a 1997 essay bemoaning his lack…
Donda reflects the kind of confident controversy someone like Kanye can get away with when crafting an album as timeless as this. The announcement of a…
Big Red Machine’s latest record is a more star-forward, familiar affair, but its strength of artistry keeps its less experimental tracks from disappointing. After what was…
Deafheaven’s latest is an arduous and placid take on their sound, subverting much of the appeal the group’s abrasive brio holds. Deafheaven, either by elaborate…
The Ballad of Dood and Juanita is traditional without every feeling old-timey, and is more fun and plays to Simpson’s strengths more than his more recent…
Just a Matter of Slime is something of a placeholder, but one which indicates YNW Melly has every intention and credibility to push past his present…
The Last Duel is another win for Scott, an agreeably brutal, wickedly incisive tale that is considerably more substantive than mere Rashomon comps. Blending his lavish but…
Kanye West The announcement of a new Kanye West album — his tenth in fact — brought with it the delighted attention of the usual,…
In a late scene in Chameleon Street, Wendell B. Harris, Jr.’s 1990 film, an astonishingly brilliant and wickedly comedic interrogation of American racism’s corrosive effects…
Parallel Mothers If Pedro Almodóvar’s pandemic short The Human Voice hinted at a freshly energized director liberated from the burden of expectations, then his latest…
The Velvet Underground proves an interesting resting place for a litany of period detritus, but stumbles when foregrounding its titular subjects. Todd Haynes, a noted semiotician,…
After Asako I & II, Hamaguchi’s latest can’t help but feel like something of a step backward into less aesthetically daring filmmaking. “Once Again”, the third…
“I’m sorry if I doubted your good heart / Things always seem to end before they start.” A ruefully apologetic Lou Reed sings these words…
The French Dispatch For better or for worse, there are few working American auteurs whose visual stamps are as broadly and immediately recognizable as Wes…
Bergman Island is an intentionally ephemeral, frictionless bit of meta-fiction, conceptually justifiable but all the more frustrating for it. Mia Hansen-Løve’s Bergman Island is, quite literally,…
The Blazing World is a disarmingly charmless and amateurish series of indie genre check-boxes that amounts to a whole lot of nothing. With horror films in…
Trip at Knight is the best album Trippie’s put out in a minute, a record of creative production and genuine feeling that only occasionally stumbles. Ohio…
Solar Power isn’t an outright failure, but it holds little of the ecstatic energy that defined Lorde’s first two records. Lorde’s star rocketed in the first…
While better than the first King’s Disease album, Nas’s follow-up isn’t much more than an exercise in oldhead legacy maintenance. Is Nas in “rare form,” as he…
Sam Williams’ major label debut proves he possesses his family’s talent, but also suggests he hasn’t yet asserted his own musical identity. If nothing else,…