Nas Is Nas in “rare form,” as he claims on King’s Disease II, or just a tad moldy? This question was already resoundingly answered on…
Madres hardly justifies the whole Blumhouse/Amazon deal, but it’s at least the best of the eight films that have come courtesy of it. Director Ryan Zaragoza’s Madres is…
The Manor isn’t necessarily a good film, but it’s a fun enough lite-horror outing that reflects an improvement from the Blumhouse/Amazon team-up. The law of averages…
Diana: The Musical is a tacky and tactless propanada mission that subverts its own fun flashiness with remarkable bad taste. When I was thirteen, I was…
Suzanna Andler seems to spawn from a place of loving tribute, but it does little to contribute new insight or appreciation. During her lifetime, Marguerite Duras…
V/H/S/94 isn’t entirely successful, but it marks an upswing for the anthology franchise from its last entry. The first V/H/S film was a novelty, a throwback to…
The Rescue is a moving work a immersion and stitch-work, crafting an empathetic documentary from its headline-grabbing story. Elizabeth Chai Vasarhelyi and Jimmy Chin have a…
The Many Saints of Newark is an affectionate but utterly empty and unnecessary return to the world of Tony Soprano. It always going to be a…
Black as Night is a remarkably dull vampire flick riddled with awful centrist politics. Part of the second wave of Blumhouse castoffs that have been repackaged…
Red Rocket It’s been far too long since we’ve been graced with a legitimate performance from Simon Rex a.k.a Dirt Nasty, the most esteemed white…
No Time to Die is a gorgeous entry in the Bond canon, but abysmally paced and expository to a fault. After 15 years, Daniel Craig’s run…
In Ste. Anne, Rhayne Vermette strives to imbue narrative filmmaking with as much tangible texture as possible, even if that means freely disrupting said narrative…
Venom: Let There Be Carnage successfully course-corrects from the original, delivering a deeply funny and deeply human film that ranks among the best recent comic…
Bingo Hell is at least a horror film unlike last year’s Amazon/Blumhouse offerings, but is too full of questionable craftsmanship and hollow messaging to recommend. The…
Los Lobos’ Native Sons is a top-tier covers collection and a heartfelt love letter to Los Angeles. Long before their days of weighty concepts and…
NEED finds 3OH!3 returning to their late-aughts party rap roots, and reminding how much current hyperpop stars are indebted to their earworm sound. It seems impossible…
Wanda Jackson deserved a far better party than Encore for her send-off. Recorded in 2019, before she announced her official retirement, Encore will most likely be the…
1/6 is both a confident and vulnerable comeback for Sunmi, a synthpop work of polished songcraft and raw lyricism. Since 2017, K-pop artist Sunmi’s velvety synthpop…
Los Lobos Long before their days of weighty concepts and studio experimentation, Los Lobos cut their teeth as a wedding band, doggedly gigging across Los…
Connie Smith’s excellent The Cry of the Heart is proof that traditional country in 2021 doesn’t have to be mere museum curio. While many of country…
Titane admirably reconciles opposites and piles on texture and sensation, but ultimately reveals itself far too content to trade only in cliché. What is the role…